DRENGE, UNDERTOW

www.rockfeedback.com

Since the release of their 2013 self-titled album, Drenge (Danish for ‘boys’, although according to Google Translate it’s pronounced differently) have channelled their angsty sound into bringing grunge back towards the mainstream. The first album was rhythmic in Dogmeat and carelessly irate in Face Like A Skull; no expenses were spared in composing a tracklist that represents all the different reasons you can feel pissed off. Undertow is less than a sequel, more a maturing stage for Derbyshire duo Eoin and Rory Loveless.

2014 was a fairly quiet year for Drenge, and some of the hype surrounding them was inevitably stolen post-release of Royal Blood’s debut album in August. Although Eoin Loveless told Digital Spy that Royal Blood are 'too poppy' for Drenge, the two duos have indisputably gained much comparison, which naturally has pushed Drenge into the shadows of Royal Blood’s shining success. Whilst Royal Blood have won over radio and even beat One Direction to a Brit Award, Drenge have remained impressing smaller crowds, so it’s unquestionable that the association between the bands is most likely not favoured by the brothers.

Eoin Loveless at Drenge's NME Awards Show at Tufnell Park's Dome
http://www.nme.com/

Does Undertow have the capability to reposition Drenge out of Royal Blood’s shadow? The addition of bassist Rob Graham has grown Drenge, immediately evident in lead single We Can Do What We Want, which also packs the most contagious guitar riff on the album - I expect this to be very good live. The Snake also proves the positive influence of Graham on the band, as well as being simple and unique lyrically: ‘the snake he wraps his neck around mine, we kiss like it’s breakfast time’.

Overall, everything’s less abrasive. There are no pessimistically titled songs that ring similar to People In Love Make Me Feel Yuck, but a wider focus on freedom and maturity. The rhythmicity of Drenge has been sustained, but where it previously represented frustration some of the tension has been taken off now, particularly so in Never Awake. The low point of the album comes in Standing in the Cold, where the pace has been stripped back to no end – it doesn’t have the memorability factor to become a slow anthem like Fuckabout.

The Undertow artwork is more colourful, less melancholic than Drenge

A part of me misses the lyrical relatability that came with some of the older music, but a step away from what the band call ‘brattiness’ has provided a growing up point for Drenge. Less rousing; more established and thoughtful, Undertow is the archetype of a second album where the band have the challenging job of balancing their defining sound with musical progression. 

My favourite Drenge songs: Gun Crazy, Face Like A Skull, Never Awake
For listeners of: Royal Blood, Palma Violets, Drowners