The Drones - Havilah

A constant comment on the Drones seems to concern how they will never achieve mainstream acceptance - that the group has carved out a niche in rock that is simply too abrasive for the average music listeners. While there is truth to that sentiment, the complete lack of awareness concerning the band is puzzling. The fact that websites like Pitchfork haven’t turned 'Havilah' or any of the band’s previous records into yet another one of their flavor of the week "classics" leaves the band's blend of blues and indie rock feeling authentic. 'Gala Mill,' the group's previous release, revealed itself to be a fantastic album over time. Cuts like 'Jezebel' came off as rubbish with lead vocalist Gareth Liddiard presiding over most of the tracks with his shoddy cockney accent. When confronted with the actual dense, dark tales, Liddiard bellows, though it is tough not to be fascinated with his picture of Aussieland. 'Gala Mill' seemed to echo the images of an artist like Bruce Springsteen in his attempt to embrace and reflect a cultural dialect through music. In turn, 'Havilah' has lightened up the gloom of The Drones, positioning itself as the band’s third great album in a row.

the drones' 'havilah'

To declare Gareth Liddiard the most imaginative lyricist currently performing may be somewhat of a frivolous statement, but is certainly valid when examining his discography. 'Jezebel,' his masterpiece, was applauded immensely after ‘Gala Mill’s’ release. For those unfamiliar with the opener of 'Gala Mill,' it is a vicious recollection of numerous battles all focused through the prism of a man simply wishing to see his lover again. Recalling everything from World War 1 to fallen Iraqi War victim Daniel Pearl, the track remains singular in its post 9-11 examination of world affairs. 'Havilah' attempts to take a less formidable approach on the world and Liddiard seems to have replaced his anger with longing. 'Oh My' spits lines like "People are a waste of food" over a gloriously bizarre instrumental that marks itself up as one of the poppiest moments in The Drones discography. ‘I Am The Supercargo' reflects the ideas of cargo cults in epic proportions. 'Cold and Sober' acts as the ballad of the album with Liddiard slowly wailing over beautifully distorted guitar. ‘The Minotaur,’ the first single, seems to be the only track in the more aggressive fashion of the band’s older recordings punctuated by the great verse:

‘i have the same old dream
about a tunnel by my bed
from where the stench of shit of minotaurs
yawns like lewd and evil breath
but instinct and a map
has set to work inside my head
instead of shedding tears
i've learned to drink and piss instead'
-the drones – ‘the minotaur’

The brilliance of the lyrics on 'Havilah' is so overwhelming that the record perceivably could’ve been just as touching had it been released as a novella. Luckily, instead we are giving an instrumental backing that features some of the best dual guitar interplaying in years. That Liddiard has seemingly defined his generation in lyrical modernism is impressive, but place upon that the fact that he and recently acquired guitarist Dan Luscombe are playing some of the most interesting and melodic guitar lines since the references points of 'Surfer Rosa' and 'Everybody Knows This Is Nowhere' is just admirable. Fiona Kitschin and Michael Noga head an impressive rhythm section that helps propel 'The Minotaur' into serene post-punk. The band also uses a variety of extended percussion techniques on tracks like 'The Drifting Housewife' extending the vocabulary of 'Gala Mill' and 'Wait Long by the River and the Bodies of Your Enemies Will Float By.'

'i try most nights to get you out of my mind
but you're still there silent by my side most the time
i can't help that i let you down
it's too long and too late
and i can't help if i broke your heart
it's too long and too late'
-the drones - 'your acting's like the end of the world'

'Havilah' ends with the haunting 'Your Acting's Like the End of the World.' The most upbeat track on the record, the lyrics tell a completely different story. Ending with the aforementioned verse, we get the feeling Liddiard is somewhat haunted by these hopeless characters he is constantly conjuring. The Drones revolve in a world that is both light and dark. The band’s music reflects the realistic nature of situations in the embellished tradition of the blues. Perceiving events as global and immense as the first lunar landing, the track ‘Penumbra’ recollects Buzz Aldrin in a stark acoustic number. Perhaps that is where the Drones have succeeded flawlessly over their last three records - conjuring up images that are both so seemingly personal yet widely accepted that the listener can do nothing but relate. Whether they have or not, ‘Havilah’ will remain as yet another great record from one of the most talented acts currently playing rock music.

the drones

The Drones - 'Havilah' (2008)

(sorry for the RapidShare link the file was too big for mediafire.)

The Drones - Custom Made

seven inches represent an "extended play" for artists. in my opinion the seven inch is probably the hardest format to make a great record on because you don't have time to develop a running sound. where on a full album artists are able to throw in some filler between two great songs that isn't a possibility with seven inches. that is why i've decided to examine a seven inch weekly on here supposedly every sunday evening. i doubt this will actually occur as even the first post is being constructed past the "due date.", but who really cares. hopefully this will provide more great music for the few people that indulge my lengthy discussions.

the drones' 'custom made'

the first seven inch i'll be posting will be a recently materialized idea on ATP Records called Custom Made. it is basically a series of seven inches that will call for its roster of bands to put together a four song sampler with new and old material as well as covers. the first band to be involved with the series is a group that goes by the name The Drones. in my opinion, probably the best "rock" band currently active. The Drones hail from Australia where they've mashed a variety of sounds into some kind of cohesive devotion to American blues with a hefty amount of influence from groups like The Birthday Party. Neil Young styled guitar leads are all over their plethora of records, but the differences between 'Gala Mill' their latest and their debut are vast. 'Gala Mill' was a collection of expansive Australia folk lore while 'Here Comes the Lies' was essentially a blues cover album by a group that adores feedback. 'Custom Made' contains examples of all of these sounds opening up with a great remake of 'Cockeyed Lowlife of the Highlands'. Dissonant guitar lines abound the song introduces us to the aggressive side of The Drones with vocalist Gareth Liddiard howling his oddly cockney accent all over the track. Psychedelic guitar fills abound the song explodes into the next track 'I Don't Ever Want to Change' from 'Gala Mill. 'I Don't Ever Want to Change' is basically the hit of this record. It has a pop structure with a relaxed verse that explodes into a raging chorus. Commentary of the lyrics point to Liddiard commenting on a specific type of Australian who seeks peace in nature from their self destructive urban life. The track is a superb addition in terms of segue the noiser side of The Drones into the more composition based side of The Drones. 'I Drink' a cover of Charles Aznavour's 'Je Bois' is a track only The Drones could play. The track stutters in a variety of angular rhythms while Liddiard recounts his past indulgence in liquor. Finally we have the closer of this seven inch set, a ballad in only the way The Drones could do 'Shark Fin Blues'.

the drones' 'shark fin blues'

Every second of 'Shark Fin Blues' has purpose. From the cascading guitar intro to the bridge of las. This track is truly one of The Drones' finest moments and where it truly succeeds is in the lyrics. Liddiard sets the stage of some type of shipwreck with the narrator looking on,

'a harpoon's shaft is short and wide
a grappling hook's is cracked and dry
i said, why don't you get down in the sea
turn the water red like you want to be?

'cause if i cry another tear i'll be turned to dust
no the sharks won't get me they don't feel loss
just keep one eye on the horizon man,
you best not blink they're coming fin by fin
until the whole boat sinks.'
-the drones - 'shark fin blues'



The Drones - 'Custom Made' (2007)