Whatever fresh-faced New York-hailing quartet, Drowners, lack in originality on their eponymous debut, they make up for with explosive enthusiasm and a youthful, nonchalant, introspective vibe which at times mirrors that of a young Morrissey or Julian Casablancas. Fronted by Welsh boy-next-door model-turned-singer, Matt Hitt, the band have upheld a relatively casual approach to their musical endeavours until now, releasing a smattering of taster tracks and playing a handful of low-key shows across pockets of America, as well as playing alongside Foals and The Vaccines in 2013. Igniting their career with their inaugural twelve-track-strong studio release, Drowners' style doesn't so much signal any real musical experimentation or progressiveness as it does borrow from the light, hope-inspiring hedonism of early post-punk sounds of the 1980s, and implement a tender, buoyant freshness, as if to stride gallantly into 2014 carrying the blueprint for musical success.
'Drowners', whilst maintaining the same clean, level-headed simplicity throughout each of its twelve tracks, does exhibit some real promise in leading tracks such as album opener, 'How To Phrase A Rejection', but just lacks the self-assurance to avoid relying on the sounds of bands the album is so heavily influenced by. Hitt seemingly, and very convincingly, impersonates the slurred, scratchy vocals of aforementioned Strokes frontman, Julian Casablancas, on this track, with the rest of the band also drawing on the layered lo-fi guitar arrangment of Strokes tracks such as 'Last Nite' and 'Someday' from their 2001 debut, 'Is This It'. Removing some of the grit of the original Strokes sound however, the band create the fusion of garage rock and post-punk romanticism on this track which is so prevalent within the record as a whole with their signature jangling indie guitar style, bouncing with jagged, rapidly-moving riffs which are so conventional of the early '80s vibe they encompass so adeptly.
As the album progresses, it is clear that its innoffensive, innocuous charm resonates heavily, carrying the slightly androgynous feel to Hitt's resonant vocals through into his lyrics in tracks such as 'Long Hair'; 'whispering between us girls, I don't think of him that often anymore, all the girls had long hair, all the boys had long hair, and you were missing out'. Androgynous undertones in music is hardly new or unheard of, but always refreshing and conducive to creating a far more relaxed feel to an album, which Drowners most definitely achieve. Laced with twinkling Smiths-esque rising and falling riffs in a plethora of tracks such as 'Luv, Hold Me Down', 'Watch You Change' and 'You've Got It Wrong', the impact of the original 1980s post-punk messiahs on Drowners' sound is undisputable, and despite the four-piece not matching this sound with Morrissey's unparalleled lyrical ingenuity, they pour everything they have into crafting the album's lyrics, with lines like 'there's not a shoulder cold enough to give' from 'Watch You Change' offering glimmers of real songwriting aptitude.
Undoubtedly the most striking thing about the record is the air of naivety and hopefulness created by the culmination of romantic lyrics, soft melodies and idyllic guitar sounds, and whilst Drowners may not have broken any new ground or ventured into uncharted territory with this clean, cohesive new album, they settle with a sound they pull off excellently. Brimming with nostalgia and retro charisma, their debut is an album which would have its place in a multitude of scenarios, whether that be in the glowing ambience of an inner city bar amongst the clink of glasses and hum of voices, or in the hub of a house party alongside dancing youths and drunken guitar playing. Its versatility is a definite plus point, and with such heartfelt imprudence and irresistible affability, 'Drowners' is ultimately a triumph for the New York newcomers and hints at similar musical delights to ensue in the future.
Rating: 6.5/10
Drowners - Drowners: Out Now
Luv, Hold Me Down - Drowners
Long Hair - Drowners
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