Rocker (feedbot)
Gold Member
Back in 2020 there was a rebrand. That’s how Rain City Drive came into being. They were worried someone might take offense at their old name. Also, they were one of Johnny Craig’s old projects so maybe they were right to draw a line under that era. Yet, you can’t help but think that a name-change feels a little cynical; if you’re offended by the name, you’re not going to be a fan, right? Not because art should be offensive but because it’s impossible not to offend someone. That’s why art should be thoughtful and expressive. If someone is going to take offense it might well be intentional. Anyway, Rain City Drive have a new album, and they called it ‘Things Are Different Now’.
By the time of 2020’s ‘To Better Days’, they had evolved into their final form. At this point they set a baseline quality level that they’ve spent three albums hitting, and while each has its own tone, this is easily the most streamlined. The sound is fairly mainstream rock with a slight edge. Similar to Youmeatsix, Anberlin or Emarosa. All bands whose singers have a certain amount of soul. With his commanding voice, Matt McAndrew sounds like he’s auditioning for American Idol. The way he leans into the choruses on ‘Lose My Composure’ or ‘Frozen’ make the songs feel powerful, but his real skill is the way he stresses individual words. This means that even the songs that don’t have a traditional chorus like ‘Over Me’ or ‘Medicate Me’ keep you ensnared with an alluring series of hooks. Counterintuitively, it’s the little moments that stand out. On ‘Concrete Closure’ he leans into the first word in the phrases ‘Wide open’ and ‘too much’ linking them together with a kind of vocal slingshot that powers you through the song. This is a feature of his work and gives the songs a certain individuality that is hard to dislike.
While you’d never mistake their music for hard rock there’s a definite grit to the sound. The guitars have a mischievous tone that is allowed to bite a little harder on the noisier cuts like ‘Frozen’ or ‘Aware’ meaning that the record never feels bland or toothless. Indeed, while each song has its own personality, the record itself has a fairly uniform identity. Indeed, listen close and it does feel like you’re listening to a ‘Protools’ session. To be clear, most bands don’t record live. Almost all albums are made in editing software but here you can’t shake the feeling that instruments are being shuffled in blocks of Synths/Drums/Guitars. Again, this isn’t a bad thing as each song feels pleasingly thick and biting, it just also feels designed. Not cold or calculated, but carefully thought out to make the record sound ‘Good’ rather than distinctive. However it’s quite a feat to make an album with such a consistent tone and at least part of this is the way the tracks are carefully organised. With its bassline and bounce, ‘Concrete Closure’ seems almost designed for the dancefloor and although this energy is shared by the flirtatious trance-like elements on ‘Disarm the Hourglass’, they’re positioned enough steps away from big rockers like ‘Neverbloom’ or the powerful opener to allow the energy to flow between them. Yes, there’s a certain effortlessness to songs like ‘Wish You The Best’ or ‘Elusive Dream’, which makes them easy to listen to but hard to recall, but it’s a feature rather than a bug. These aren’t weak links; they drag the average up. Indeed, because they’re not upfront with their confidence, you can really feel the heart with which they were written.
After ten-ish seconds of silence, the final track ‘Sacrifice’ creeps into the runtime a little like a hidden track. At first it seems as welcome as a drunken half-brother staggering into a karaoke bar, but quickly proves to be the most illuminating. After starting slowly it builds and builds until it goes supernova, exploding into heavier electronics and yelling. It’s a pressure valve, releasing the underlying tension, allowing them to exhale. It tells you that this is a record made by a band doing what they’re good at but flirting with something dangerous. At one time, they would wear their heart on their sleeves and take big swings but they’re repressing those urges to make something solid and consistent. ‘Things Are Different Now’ is difficult to fault, likable and never bland. You could call it cynical, clinical or maybe even calculated but this is a record feels like it was designed to be ‘Good’ – and it really is.
Do you ever find yourself thinking about culture? Thinking about art or thinking about music? Maybe you’re the kind of person who appreciates being challenged, or appreciates something solid, unadventurous and comforting. Maybe you’re thinking about what makes a great album. Thinking about what makes a great band. Play it safe. Play the hits. Play what is safe and secure. Play it with quality. Play it with an edge. Play Rain City Drive.
IAN KENWORTHY
By the time of 2020’s ‘To Better Days’, they had evolved into their final form. At this point they set a baseline quality level that they’ve spent three albums hitting, and while each has its own tone, this is easily the most streamlined. The sound is fairly mainstream rock with a slight edge. Similar to Youmeatsix, Anberlin or Emarosa. All bands whose singers have a certain amount of soul. With his commanding voice, Matt McAndrew sounds like he’s auditioning for American Idol. The way he leans into the choruses on ‘Lose My Composure’ or ‘Frozen’ make the songs feel powerful, but his real skill is the way he stresses individual words. This means that even the songs that don’t have a traditional chorus like ‘Over Me’ or ‘Medicate Me’ keep you ensnared with an alluring series of hooks. Counterintuitively, it’s the little moments that stand out. On ‘Concrete Closure’ he leans into the first word in the phrases ‘Wide open’ and ‘too much’ linking them together with a kind of vocal slingshot that powers you through the song. This is a feature of his work and gives the songs a certain individuality that is hard to dislike.
While you’d never mistake their music for hard rock there’s a definite grit to the sound. The guitars have a mischievous tone that is allowed to bite a little harder on the noisier cuts like ‘Frozen’ or ‘Aware’ meaning that the record never feels bland or toothless. Indeed, while each song has its own personality, the record itself has a fairly uniform identity. Indeed, listen close and it does feel like you’re listening to a ‘Protools’ session. To be clear, most bands don’t record live. Almost all albums are made in editing software but here you can’t shake the feeling that instruments are being shuffled in blocks of Synths/Drums/Guitars. Again, this isn’t a bad thing as each song feels pleasingly thick and biting, it just also feels designed. Not cold or calculated, but carefully thought out to make the record sound ‘Good’ rather than distinctive. However it’s quite a feat to make an album with such a consistent tone and at least part of this is the way the tracks are carefully organised. With its bassline and bounce, ‘Concrete Closure’ seems almost designed for the dancefloor and although this energy is shared by the flirtatious trance-like elements on ‘Disarm the Hourglass’, they’re positioned enough steps away from big rockers like ‘Neverbloom’ or the powerful opener to allow the energy to flow between them. Yes, there’s a certain effortlessness to songs like ‘Wish You The Best’ or ‘Elusive Dream’, which makes them easy to listen to but hard to recall, but it’s a feature rather than a bug. These aren’t weak links; they drag the average up. Indeed, because they’re not upfront with their confidence, you can really feel the heart with which they were written.
After ten-ish seconds of silence, the final track ‘Sacrifice’ creeps into the runtime a little like a hidden track. At first it seems as welcome as a drunken half-brother staggering into a karaoke bar, but quickly proves to be the most illuminating. After starting slowly it builds and builds until it goes supernova, exploding into heavier electronics and yelling. It’s a pressure valve, releasing the underlying tension, allowing them to exhale. It tells you that this is a record made by a band doing what they’re good at but flirting with something dangerous. At one time, they would wear their heart on their sleeves and take big swings but they’re repressing those urges to make something solid and consistent. ‘Things Are Different Now’ is difficult to fault, likable and never bland. You could call it cynical, clinical or maybe even calculated but this is a record feels like it was designed to be ‘Good’ – and it really is.
Do you ever find yourself thinking about culture? Thinking about art or thinking about music? Maybe you’re the kind of person who appreciates being challenged, or appreciates something solid, unadventurous and comforting. Maybe you’re thinking about what makes a great album. Thinking about what makes a great band. Play it safe. Play the hits. Play what is safe and secure. Play it with quality. Play it with an edge. Play Rain City Drive.
IAN KENWORTHY