Drenge - 'Undertow' Review

Drenge... the post-punk, grungy duo who insist their music is played loudly. Their first album was raw, gritty and a metaphorical two fingers to keyboard indie. Guitar music was officially not dead.

'Undertow' is much more thought-over album and the production is smoother, with the majority of the album having a darker feel to it than its predecessor. The first four tracks get the album off to a flyer with 'Running Wild' being a highlight of the entire record. The deeper sound is noticeable straight away and for some time it works a treat. 'Never Awake' follows, with another stellar drum beat and head bopping guitar hook. The vocal delivery is more refined too, but you never feel like Eoin Loveless is holding back.

"How about twisting the knife, after you stick it in"

On the lead single and 4th track 'We can do what we want', the band let loose a little. A libertines-esque intro leads into a track which defines Drenge. The drums are hit hard, the vocals are belted out and the guitar is loud. The theory comes to life here...the louder you play this song, the better it sounds. Laptop speakers are not an option according to the band! The added bass (yes, they are actually a trio now) gives the catchy riff a bit more bite, as it does throughout.

Unfortunately though, the album can't quite keep up the quality for the next couple. 'Favourite Son' and 'The Snake' aren't necessarily bad songs, but they don't have the same punch as the openers... Nor the lyrical conviction. The Nirvana influence is strong here, to the point that it sounds like they wrote and recorded it directly after listening to 'Nevermind'. Some would say an influence, some would say it's a rip off. Much like Muse - United States of Eurasia with Queen.

The rolling bass of 'Side by Side' is another 'nice', so-so track. But I'm not sure Drenge would appreciate that half compliment. At the same point in their debut, 'Face Like a Skull' appears. I think most Drenge fans would prefer the rawness of the latter, than the relative calmness on 'Side by Side'. Again, it isn't bad, but it's a little middle of the road for me. 'The Woods' however, breaks the trend of smooth production. but no 'tune' to tie it with. The second half of the song boasting a pleasing guitar, bass groove out (is that a phrase?!) before the chorus kicks back in with a clever little harmony.

"Lead us not into temptation but deliver us from evil"

The title instrumental 'Undertow' is next, which is as uneventful a Drenge song as you could imagine. I don't have a problem with it other than it doesn't grab my attention, which for Drenge is a strange concept. 'Standing in the cold' is another dark, hard hitting, howling song with desperate vocals and a roaring guitar solo mid way through. The formula works again here before it falls down again with 'Have you forgotten my name', which rather lets the album peter out.

It is in those closing moments you doubt Drenge's obvious conscious decision to refine, polish and focus their sound. However, for most part I think it pays off, developing and improving them as a band. Their debut was a breath of fresh air, but I don't think that style is sustainable long term without becoming stale quite quickly.

Drenge have been bold and that is exciting. They are on the verge of brilliance.

8/10

Other album scores:

Sufjan Stevens: 8.5/10 - I may do a small post on this at some point! Amazing piece of music.
Waxahatchee: 7.5/10
Say Lou Lou: 4/10

Here is the band on David Letterman performing 'We Can Do What We Want':

Is "Psycho" - Muse the worst song they have ever made?

"If you do not do what you're told to do when you're told to do it, you will be punished. Do you understand?
(Aye, sir)"

As the drill sergeant and corporal wail back and forth to one another, it's hard to comprehend what has happened to a band who in the mid 2000's had the crown of best British rock band cemented for what seemed, years to come. 

Muse are obsessed with being grand. But it has now gone to the point of stupidity. Lyrically they have never been exceptional but the instrumentation was always what carried them. The last two albums have sucked that prowess away dramatically leaving wishy washy pop-rock ballads and electronic pop to contend with. So, Muse fans might have been excited when it was made clear the riff-heavy style was returning for their new album 'Drones.' 

"Psycho" has a guitar riff that defines "cock rock" if their ever was such a thing. Unoriginal and cringe worthy. The drumming is tight as always, but very, very familiar (Uprising?). The bass, well... this is supposed to be Chris Wolstenholme, yet I'm pretty sure I could write and play the part. 

I struggle to understand how a trio who conceived 'Citizen Erased' & 'Hysteria' have stooped to this level. The more desperate the music and ridiculous the lyrics, the more Muse's political messages & metaphors become less credible. You used to buy in to Matt Bellamy's ideologies and theories, probably because he was the like-able geek. Now, his falsetto at the end of this track is the musical equivalent of raking your nails along a chalkboard until death. That's unless you haven't drowned in your own vomit and tears first.

When the musical invention of Muse involves guitars and you label it uninspiring and predictable, you know something has gone terribly wrong. Muse have out done themselves. 

"Your ass belongs to me now"

No, it doesn't.