Finding even a hint of uniqueness in music and bands is at times like waiting for snow on Christmas Day but it does happen and has with the self titled debut EP from UK rockers The Dropper’s Neck. The four songs which make up its pulsating and bristling shape do pull in thoughts and essences from other bands but there is a distinct colouring to their sound and attitude which is solely the Essex band and it is very appetizing to hear.
The quintet only formed late 2011 but took no time in drawing a loyal and growing following through their vibrant live shows and sound. Released a few weeks ago their EP looks set to build on that start with its compulsive and energetic fusion of multi-flavouring, the strains of garage and alternative rock in a blistering brew with elements of punk rock and psychedelic schizophrenic tendencies. Produced and engineered by Toby Campen, it makes for a quartet of engaging tracks with ruffle the ear as much as they openly infect, and give hints of even greater things ahead from the band.
The release opens with the scorching heat of Poor Excuse, a track which attaches itself to the senses with a mutated Queens Of The Stone Age like groove. The guitars of Chris Blake and George Barrows twist and surge with enterprise and caustic melodic invention whilst the rhythms of bassist Martin Huggett and drummer Danny Keene drive a formidable pace and intensity behind. It makes for an irresistible tease before the ear with the incessant taunting from the riffs one of those orgasmic pleasures and the craft of Blake sending delicious shards of heated melodies through to the heart. Like all the tracks, though there is an immediate connection the song grows and emerges with a stronger and more contagious hold through multiple meets. The vocals of Lloyd Mathews are another excellent stand out aspect of the sound, his at times almost dour yet hypnotic delivery having the same garage punk expressiveness which marked Lux Interior of The Cramps, though with no disrespect to Mathews he has some way to go to emulate the great man. He seemingly borders on disinterest at times tone wise and makes for a great contrast and seamless companion to the sharper burnt sounds.
The following Sick again has that desert rock groove which flares up at intermittent times to great effect whilst the track itself bruises with forceful riffs and combative rhythms. Within what are four outstanding tracks it is arguably the best but that does depend on the time and day, all having an equality to be commended. From its feistier climes the EP moves into the tight harmonic scarring of The Divorcee, a track as lustful and edgy as its subject. The song offers a slight psychobilly crawl reminding of The Orson Family from the eighties within its raw presence giving evidence of the diversity within the sound and songwriting of the band. It is hypnotic with its simple hooks and acidic melodic stirring of the senses and again is a track which takes top spot when in the ear, though one can say that about all to be fair.
The release ends with I Could and the band venturing into more direct punk n roll intent. The track swaggers with a boastful energy and finds Mathews almost unleashing the inner rocker within, his delivery livelier and with more enthused gusto as he explodes into air splitting howls. The track continues the showing of range to the sound of the band and adds to the already high anticipation for what comes in the future from the band.
The Dropper’s Neck has announced themselves with a release which it is hard to pick any real flaws from. If one was being really pedantic there is a similarity to how some of the songs begin their individual escapades but they soon evolve into their own unique guises to make it a mere quibble and of no value. This is a band which offers something different, arguably it does not happen often so make sure you do not miss out.
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