Drahla excels at brief punchy songs such as “Second Rhythm,” in which overlapping guitars from Barr and Luciel Brown, who is also their vocalist, create a sweltering groove. They are abetted by powerful playing from bassist Bob Riggs and drummer Mike Ainsley. Riggs undergirds “Default Parody” with a staunch riff and is joined in the low register by the guitars on the thunderous “zig-zag.”

“Talking Radiance” is a standout. It features Brown’s characteristic speak-sing delivery, as well as a zesty left turn midway through, in which a new, faster tempo is undertaken and the guitars grow in ferocity, joined by howling saxophone from Duffin. “A,” on the other hand, focuses on a grunge-worthy riff, repeating it over and over with cascading loops and a distorted, sustained lead guitar atop.

The band is capable of surprises too. Overdubbed vocals and piano form the interlude “Venus,” a brief, gentle offering in the penultimate position on angeltape. The album’s final track, “Grief in Fantasia,” is also its longest, clocking in at a little over five minutes. Once again, Brown’s laconic declamation is positioned against saxophone wails, biting guitar duets, and a propulsive rhythm section. Eventually, Brown’s voice is offset from the guitars, creating a call and response with a two-note riff that is then followed by considerable collective instrumental mayhem. All of a sudden, the music halts, ending with a terse statement of the two-note riff.

Drahla clearly knows their progenitors, but one needn’t focus on this legacy when listening to angeltape. It is a singular document by a distinctive and up-and-coming group.