Label: Labile Records
Genre: Electro / EBM / Industrial
06 Life reprise
07 The last time
09 Oblique mind
Each time a new generation comes to play in this now rather old scene called human life, the old music paradigms are called again for them to praise, to follow and to ultimately envision their own ideals and dreams on how music should be. Each generation has its distinctive icon, a benchmark where they find all their ideological references, where their fears congregate, where their temptations dare to converge. I remember Trent Reznor saying that he grew up listening Pink floyd, Depeche mode and the Cure, claiming that the context of his music was unmistakable formed in the depressive tendencies from them all, the acrimony synergy from the post punk temper and the technocracy imposed by electronica laid in the foundation of synth pop. I think Nine inch nails as the pop symbol that it is becomes a clear reference for the entrance of a new era, anticipates the electronic madness from the 90s and his angst music somehow reveals the decadence from the old standard of heavy metal. When Nine inch nails came in, the so called underground industrial music and metal scenes saw this a thwarted attempt to conform an hybrid between the two with an obvious interest to monopolize the mass through pop aesthetics and ideals. He achieved this, but as usual at the cost of emerging from the enchanted land that is represented in the music made for few individuals, paradise is left behind. Nevertheless, his influence is appreciable today as much as his early nominations on the famous bands that influenced his music, vast amounts of people venerate him almost as a saint; hundreds of bands worldwide have made an extensive stereotypification on his ruminations and few others have used him as well as just another influence to complement their music.
Bands like Chemlab, Sister machine gun, Gravity kills and even early Marilyn manson represent good heirs from the reign lead by this influential band. They all created their own kind of sound that unmistakable redirects us to their early influence, but nevertheless this is an aspect that is never evident, just suggested occasionally during their careers, and some of them has escaped completely this influence by now. So I have the feeling that Drev walks in similar grounds, the influence it’s kind of detectable but fortunately never predictable enough which is a surplus favouring their innocence and originality in a way. Drev is an Indie industrial band from Boston, lead by Jess Hewitt fusing a modernized version of cyber metal prefigured in the form of analog lines, provided electronic samplers, electro effects and the omnipotent guitar riff that adobe the basic rhythmic section from some of its songs. Obviously as time advances so does the generational set of improvements in the technique area, Drev is conscious on this and follows a subtle patron of hybridization in “Failure”. A conflagration of rhythmic industrials very familiar with the new school, texturized ambient structures kind of close to acts from Hands Productions detonated with a heavy melodical influx, harsh tones, special effects and some other experimental endeavours constitute the creative compendium synthesized in Drev. Interest for experimentation is appreciable which gives the album some unpredictability at times and delays his influential affinities, especially in terms of sophisticated arrangements and modern vision given on atmospheres. The general sonority is vicious and distorted with a close affinity to the cyberpunk paradigm nevertheless. More obvious connotations with the influence of NIN are appreciable on the vocalization evidenced on “The last time” a depressive industrial ballad or the very angsty/emotional narrative kind of vocals on “Starving”. The guitar section also gets close to some riffage affine with the “Closer” era in tracks like “Benign” with the melodic lines from synths contrasting with the roughness from the guitar distortion. Where Drev truly takes in getting rid of his ghost its on “Oblique mind”, much more personal and dedicated, creating a disjointed rhythmic noise with industrial cadences and virulent atmospheric madness, still preserving some emotional conscription in the vocalization. Finally there is the infamously short atmospheric instrumental “Abhorrent” where a very interesting experimental direction is taken with some awesome and intriguing results.
Drev is a heir and as a heir should be judged. Maybe his music is not the latest creative modernity but his circumvention around certain aesthetics and dynamics that result easily detectable as influence constitute an smart move that allows him from benefiting from certain aspects from the Industrial genre that can be exploited without necessarily be called a copycat and that generally will grant strength and style to his compositions. His more guessed right manoeuvres lies in the camp of experimentation with atmospheric effects, textures and the melodic accompaniments given to the tracks. The complementation manifested in additions from other contemporary electronica genres is another smart move also, that rejuvenates its character, a character that still remains not entirely separated from his influences though. But nevertheless “Failure” assents as a solid work and comes as a testimony of a prince following the trace from his mentor.