There’s an immediate clarity to NANI?!‘s latest EP, Everyone’s Lookin’ At Me, before a single note is played. The artwork is striking and memorable, the kind of cover that feels intentional rather than decorative. It sets the tone well for what follows: an EP that’s energetic, messy by design, and more interested in feeling than finesse.
NANI?! is a three-piece made up of Brandon Waddy (lead vocals and guitar), Andrew Hill (bass guitar and backing vocals), and Reuben Kaplan (drums). Brandon and Andrew previously played together in an indie rock band based in Stellenbosch, and Everyone’s Lookin’ At Me marks a clear shift away from that earlier sound. Recorded at Sonic Nursery in Cape Town and produced and mastered by Ruan Vos, the EP leans decisively into grunge: noisy, abrasive, and intentionally uncomfortable. Kaplan also handled the mix, helping shape the project’s dense, raw character.
The EP opens with “Eeeee”, a strong, high-energy introduction that keeps things refreshingly simple. The drum sound hits hard, the vocal reverb does exactly what it needs to, and the track immediately establishes the band’s almost delirious sound. It’s an effective opener not because it over-explains anything, but because it drops you straight into the noise. That frantic, slightly unhinged energy carries through the rest of the EP, making this a fitting entry point.
“I Could (But I’d Have to Write You a Love Song)” eases off the pace just enough to feel like a reset after the opener. The noisy instrumentals and barely discernible vocals are enjoyable, leaning heavily into texture. For the most part, it works, though by the time the chorus arrives, the messiness starts to feel a little excessive, blurring its impact.
Where the track really shines is in its breakdowns and riffs, which are consistently excellent. There’s a strong blues-rock and classic rock influence running through the guitar work, cutting through the otherwise dirty sound. Those moments feel confident and assured, grounding the song when it risks drifting too far into chaos. The bass in the final third is particularly satisfying, helping build momentum toward the last chorus. That final chorus, however, feels slightly slurred and less rewarding than expected. Still, the fade-out works nicely, adding emotional depth to an EP that otherwise thrives on nervous energy.
Up to this point, the EP is largely restless, which makes “Broke ’n’ Bored” a welcome shift in pace. This is an excellent slower track and arguably the EP’s standout moment. The progressive intro unfolds patiently and is genuinely enjoyable, proving that NANI?! are just as effective when they take their time. As with earlier tracks, the build is strong, but again, the chorus initially feels like it’s missing something, craving either a more melodic instrumental or vocal release.
That release does eventually arrive. When the guitar riff cuts through, it delivers exactly what the track has been teasing. This sense of restraint, followed by payoff, feels like a real strength of the band, particularly in the guitar work, which consistently knows when to step forward and when to hold back.
Closing track “I’m Doin’ Better (Might Get Worse Again)” lands with mixed but interesting results. The recorded version moves at a slower pace than expected, especially in comparison to the energy of this track from the band’s earlier live shows. There’s still an infectious quality to the middle chorus, particularly around the 2:30 mark, where the guitar riff once again shines and hints at a bigger final release.
That release never fully comes. Instead, the track leans into heaviness, mirroring its own title. The shifts between groove-heavy sections and denser riffs feel intentional, “doing better” giving way to “getting worse again.” It’s almost onomatopoeic in structure, and that conceptual clarity is easy to appreciate. The added vocals in the final chorus add texture, but the ending prioritises weight over catharsis. It may frustrate listeners hoping for a final high, but it doesn’t feel accidental.
Taken as a whole, Everyone’s Lookin’ At Me is a strong EP with clear strengths and a few lingering frustrations. The energy is undeniable, the guitar work consistently impressive, and the band’s willingness to sit in discomfort gives the project its identity. It doesn’t always deliver the release it hints at, but it never feels careless.
This is a release that captures a band in transition, from indie roots to grunge instincts, and embracing the unease that comes with that shift. Everyone’s Lookin’ At Me may not let loose when you want it to, but it holds your attention all the same.
