It’s hard to find
a single inspiration for Drowners. The four piece band combines the sounds of
The Smiths, The Cure, Ramones, and The Strokes. They manage to piece together
the most appealing parts of all these bands into a blend that is entirely their
own. The New York-based band recently released their sophomore album On Desire.A follow up to a convincing debut
album, On Desire at first struggles
to build on its predecessor. That being said, the album holds the promise of a
new, richer sound for the band, one that makes On Desire worth listening to.
The band’s
self-titled first record succeeded in making catchy pop/rock songs that
excelled in engaging guitar rifts and ironic lyrics. Songs were short and
sweet, using their powers to compel you but not leave you bored with endless
repetition. I think that’s what deflates some songs on On Desire—it seems as though the band attempted to make longer,
more complex songs than they did on their first album, but, in some cases,
instead served up a number of repetitive, predictable tracks that make the
listener think haven’t I heard this
chorus about fifteen times now? The songs that flop don’t let the powerful
and biting guitar riffs that define Drowners' sound take part. “Human Remains,”
for example, floats about in soft chords and a painfully uninspiring chorus.
The whole song leaves you feeling like you’ve heard the song a hundred times
before. The guitar barely takes part, no riffs or edgy solos. This is not to
say that the band cannot produce a song without their signature guitar parts--
evolution of sound is important and essential for musicians-- but on “Human
Remains” the band does not find a way to replace the missing sound. “Trust the
Tension” is engaging with its dark melody and captivating baseline, but wears
out the sound with too much repetition. If the band took a cue from their first
album and cut the song after the successful guitar solo, the song
would succeed as a mysterious, slick ode to a tumultuous relationship. Instead
the song goes on too long and drills in its riffs and chorus far too many times
instead of leaving the listener wanting more.
Other songs are merely good. Nothing soars in “Conversations with Myself,” but the
appealing drawl of the chorus and the rhythmic verses are worth a listen. Same
goes for “Dreams Don’t Count,” whose building drum beat, well placed horns, and
bittersweet lyrics make for an achingly beautiful lullaby, but do not inspire.
“Troublemaker” is fun and danceable, bringing the classic, guitar heavy, short
jam that Drowners do so well. It’s a catchy ode to their first album, but
lacking in new material. “Another Go” has well written guitar lines, but the
airy chorus is too deficient in spirit or density to make the song a standout.
And then there’s
the winners, the bright lights that make the album so appealing and leave you
excited to see what the band can do next. They outnumber the bad, and make On Desire a successful album. “Cruel Ways,”
the first single from the album, is classic Drowners complicated. The dark
sound of the verses draws you into the building chorus before hooking you with
the sublime riff. It’s everything Drowners does right and then some, the next
level up from the sound they perfected on their first album. The guitar solo
strays from the usual jangly sounds and gives us something edgier and more old
school. It’s so satisfying to get a taste of the new techniques the band is
capable of combined with the charm of the original sound that made them so
likeable.
“Pick Up the Pace” manages to take the album a
further step up, probably the highlight of the album. The synth riff (note synth, not guitar per usual) is
something new for the band, yet they keep their Johnny Marr guitar sound in the
background throughout the chorus. Intricate bass lines and percussion keep the
melody engaging and filling. All in all, the song is catchy, complex, and
surprising, a true testament to the evolution of the band’s sound, and their
capability to invent new and multifaceted songs.
“Someone Else Is
Getting In” is the rocker of the album, with a killer riff and verses to match.
The drums are a highlight on this track, as well as the shredding guitar and
sheer rock and roll spirit. The bridge seals the deal with its soft vulnerability
before returning to the high energy ending. This one will be stuck in your
head.
“Don’t Be Like That,”
my favorite song from On Desire, is
an aching closer to the album, embedded with longing, pain, and heartbreaking
nostalgia. The opening bass line and the following guitar entrance are
punctuated with the poignant first lyrics: “How can you say that with a
straight face when it’s eight months down the line / Please don’t treat me like
a stranger ‘cause I’ve put in so much time.” The synth strings complete the
overwhelming sense of loss the song conveys. It’s songs like these, where the
lyrics and each instrument work together to impart a specific, intense feeling,
that make listening to music a religious experience. It’s songs like these that
make music music. “Don’t Be Like That” is a song that emotes and enthralls, and
this song alone redeems Drowners of all the faults of On Desire’s lesser songs.
In the end,
while there are disappointing songs on the album, Drowners manage to transform the sound they crafted on their first album into a force more complex
and moving than the catchy, simple songs they started out with. On Desire leaves you satisfied while
hungry for what the band can do next. If Drowners can keep up the evolving sound
they explore on this album while building on and learning from their past
repertoire, they will music that will blow their first two albums out of the
water.
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