It has only been two years since the last Dredg album, the shortest gap in their critically acclaimed career, but good things still come to those that don’t have to wait.
This album is difficult to review for many reasons. I’ve been a fan of Dredg for many years and preach the band’s gospel whenever I can. The work accomplished in 1998’s Lietfmotif and 2002’s El Cielo is nothing short of masterful and opened minds around the world with its honesty, but the follow-ups went another direction, exploring more concise writing avenues and heavy sounds instead of nuanced passages and ehteral emotions. The band has seen an increase in fandom while garnering some criticism for shift in tone and style. As guitarist Mark Engles said in our interview earlier this week, their new album is a departure record, but it doesn’t depart from what makes the band so good. Those longing for the strong storytelling of a fantastic singer, the driving percussion of a mad drummer, and guitar work that most bands would kill to have (on both bass and lead), will long no longer. Combine that with the mechanical excellence of producer Dan the Automator, and you have a clean record with little flaw and much attention to detail.
Right away, “Another Tribe” sets the tone on the new album. Raw vocals from singer Gavin Hayes dictate that they aren’t interested in sounding or behaving like any other band. The lyrics keep the perpetual Dredg tribal imagery alive, but in more reduced role than some prior material. “Upon Returning” switches gears to a driving rock beat and “The Tent” follows that up with some funky baby-making music, all of which feature fantastic guitar work from both stringsmen, using some sweet delay and overdrive effects. The lyrics are a bit catchier this time around, but they have enough substance to be heard constantly and not lose their potency.
The standout track may be the acoustic piece “Kalathat,” in which Hayes tells the story of a shamed high-tech professional who chooses vanity and success over the love of his family. It is beautiful and haunting, but not eerier or spooky. The guitar track is reminiscent of Nick Drake and the entire piece will appeal to those familiar with Sufjan Steven’s gem “John Wayne Gacy Jr.” A song like this helps fill out the album and makes the case that Chuckles and Mr. Squeezy fills out the band’s portfolio, by offering a different version of what you know and love.
“The Ornament” is a gift to longtime Dredg fans, as it fully realizes a track created years ago but never found its way onto an official release. This version shows how Dan the Automator works well when he’s far in the background, delivering a metronome-esque beat and bombastic bass beats, allowing the band to make a swelling song that might strike a chord with fans. Saxaphones have been a staple of Dredg’s career and they make a return on this track, although their appearance is miniscule in the grand scheme of the album.
Pre-release buzz for this album is causing anxiety for some Dredg fans, but I don’t think they should worry. The Los Gatos natives gave this album the same care and execution they always have, but the addition of Dan The Automator really added another color to the pallet. It doesn’t work perfectly on every song, as sometimes it is hard to decipher how much of the drum work is done by drummer Dino Campanella, but overall it is a step in fantastic direction. His attention to detail is remarkable as his ability to highlight Hayes vocals, which continue to steer this band in the right direction. They could have made El Cielo 2 and I’m sure it would have been awesome, but we can’t always choose what our favorite artists create. Any Dredg fan that walks into this album hoping for the emotional connection and openness of prior releases will be pleased, but only if they aren’t looking for the past in this musical present.
Chuckles and Mr. Squeezy will be released on May 3.
Comments