Destroy Rebuild Until God Shows - D.R.U.G.S (Album Review)
Friday, 08 April 2011
Written by Owen Sheppard
Super groups seem to be popping up all over the place these days with the likes of Them Crooked Vultures, The Damned Things and anything of Jack White’s design from the last four years all stirring up headlines. So here is to anyone who thought the US punk and post hardcore scene was on the descent. An out of this world, face slappingly unprecedented collision of Chiodos' frontman Craig Owens joining forces with ex-members of Story of the Year, From First To Last, Matchbook Romance and Undermined. With credentials like these, It didn’t take long before this mammoth gathering of artists were united under a signing from Sire Records and now their self titled release has hit the UK shores.
Considering that these are all bands belonging to the ever flourishing post hardcore scene in America, it was only to be expected that together they wouldn't stray far from their familiar sound. So It has probably seemed a given for fans of the members' former bands, that the aim would be to put their minds together and take a shot at creating a post hardcore masterpiece, the archetypal modern metal album. This eleven track collection is by all means a success for both them and the genre they honour. It's also a promising first offering that will surely hit home with the ever-growing punk and hardcore scene in America and Britain and will surely receive praise from fans of The Blackout or Bring Me the Horizon.
It's a classic composition of sounds too with Craig Owens' unique voice sounding ever more impressive thanks to skilful production from their good mate John Fredmann. Craig's soaring, fists in the air choruses sound like the work of a choir more than an underweight over tattooed hardcore kid. What's more he has the range to boast with too, slipping between throaty, blood curdling yells and piercing shouts, his vocals are drenched with emotion and his presence takes the centre piece to typically chugging drop D riffs, machine gun double bass pedals and some tasty breakdowns.
Another familiar feature that fans of Chiodos will indulge in is the frequent allusion to electronic intros and undertones that stir up some added melodies amongst the sections of hardcore carnage. But this album takes the electronic element a step further, although not quite allowing anything but brutal guitars to create the primary brunt, the band have artfully blended in sections of dub step drops in 'Mr Owl Ate My Metal Worm' or snappy synthesised melodies for 'Graveyard Dancing'. Fusing electronica with rock and metal styles isn't exactly an untried and untested ploy in the current scene. However there is nothing to complain about with the splendid architecture and production that has yet to be seen from cheesier attempts from bands like Attack Attack! but that D.R.U.G.S. can't seem to stop nailing down song after song on this album.
Songs like 'The Only Thing You Talk About' and 'Sex Life' direct first time listeners in to the albums key lyrical themes, like a turbulent teen drama with an axe wielding mad man chucked in for good measure, these songs focus on aspects like sex, revenge, emotional torment and heart break and the like. But don't get the wrong idea. This is not a sappy attempt to come across as some fragile romantic young man that front men like Gerard Way try to pull off, there is a healthy yearning to just make noise and blow the roof off in this bands music that we all know is the essence to any hardcore gig.
Moreover, for those who have speculated about this album will be grateful to know that from the dozens of tracks that were culminated for the post hardcore dream team, experienced quality control from seasoned artists has ensured an all killer no filler record. Key tracks include promo single 'If You Think This Song Is About You, It Probably Is', 'Sex Life' and 'The Only Thing You Talk About' and although, the album can seem to get a bit samey towards the end, rest assured there are no disappointers on show here.
A well rounded effort that eagerly speculating fans will revel in while those who are unfamiliar will surely owe a nod of recognition to. Not innovative as such, and not a genre conquering album of the year, but a more than satisfying demonstration of what happens when some great musical minds think a like and show us some passion for the genre they celebrate.
Album Rating: 7/10
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It's a classic composition of sounds too with Craig Owens' unique voice sounding ever more impressive thanks to skilful production from their good mate John Fredmann. Craig's soaring, fists in the air choruses sound like the work of a choir more than an underweight over tattooed hardcore kid. What's more he has the range to boast with too, slipping between throaty, blood curdling yells and piercing shouts, his vocals are drenched with emotion and his presence takes the centre piece to typically chugging drop D riffs, machine gun double bass pedals and some tasty breakdowns.
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