What is it about Eoin Loveless’ voice that so unsettles?
Many might attribute it to its deep baritone, others simply due to the vocals themselves. But in reality there have been many singers with such a downtrodden tone, like Stephin Merritt from The Magnetic Fields, who have sounded equally as fascinating, but never as menacing.
There have also been countless bands singing of troubling things, but they just never ring so true.
So, here returns Drenge with their phenomenal new album ‘Undertow‘. From its very opening moments this album wastes no time in setting out its stall. This record isn’t the fireworks and frenzied subversion of their self-titled debut, it’s not about shock and awe, it’s no simple blow to the face. When they appeared, they exploded out of the gate with a feverish intensity, and it lead to the simple question – how on earth could they maintain it?
Here is their very simple answer: they won’t even try.
Instead, this is their own personal challenge, a record of hideous beauty and power, the sound of a very fresh and deep wound on display to the world, as on the stunning ‘Standing In The Cold‘. They have written something personal, a batch of songs that speak openly and honestly about issues that don’t just affect them, but actively hurt them. This feels less like catharsis and more like self-harm, these wounds are still very raw.
But it’s also not some sombre, love note to depression and self-loathing, instead there is frustration and anger on display here also. Eoin Loveless is suffering, he is out for blood and is here to tell absolutely everyone. This powerful, menacing yet painful honesty is brilliant on tracks like ‘Running Wild‘ which resonate deeply, displaying a wonderful balance between power and intensity, similar to The Chameleons on ‘Don’t Fall‘.
Yet, it isn’t all brooding. They still have the fire and the thrill that made them such an attractive proposition on their debut. Tracks like ‘We Can Do What We Want‘ and album standout ‘Favourite Son‘ for instance pack truly tremendous punches.
Like some bastard love-child of Stephin Merritt and Beat Happening’s Calvin Johnson wreaking Goth inspired boogie rock on the world, it’s a fascinating dichotomy of sound, and one on which Drenge does not compromise. This record oozes a mysterious and terrifying brilliance, and feels very reminiscent of Bauhaus’ sonically challenging 1980 debut ‘In a Flat Field‘. Like that record, they both offer brutal honesty, served on powerhouse rhythms that bewilder, with tones that never move above unsettling. They are both studies in bottled intensity.
This is a masterclass in alluring menace, like Christopher Walken in his prime, it’s a vision of cold beauty that is mesmerising as it unfold in front of you. And it’s this new duality to their sound, power and brutal but controlled honesty, that really makes this album impressive. This extra dimension is fascinating; the duo are no longer just looking for the knock out blow.
Instead they are now willing to trade blow for blow for the full duration, they want to go the distance. And then still knock you out.
