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On their 2019 recording debut, Useless Coordinates, Drahla was a power trio. For the band’s latest, they have added a second guitarist, Ewan Barr. In a sense, there is a fifth member; Chris Duffin from XAM Duo contributes to several of the recording’s songs. He has added skronking saxophone and tape loops to both LPs. Duffins’ solo on “Under the Glass” not only helps to define the memorable song, but also assists in situating Drahla in the stylistic amalgam in which they reside, liberally drawing upon both post-punk and no wave in more or less equal measure.
Drahla excels at brief punchy songs such as “Second Rhythm,” in which overlapping guitars from Barr and Luciel Brown, who is also their vocalist, create a sweltering groove. They are abetted by powerful playing from bassist Bob Riggs and drummer Mike Ainsley. Riggs undergirds “Default Parody” with a staunch riff and is joined in the low register by the guitars on the thunderous “zig-zag.”
“Talking Radiance” is a standout. It features Brown’s characteristic speak-sing delivery, as well as a zesty left turn midway through, in which a new, faster tempo is undertaken and the guitars grow in ferocity, joined by howling saxophone from Duffin. “A,” on the other hand, focuses on a grunge-worthy riff, repeating it over and over with cascading loops and a distorted, sustained lead guitar atop.
The band is capable of surprises too. Overdubbed vocals and piano form the interlude “Venus,” a brief, gentle offering in the penultimate position on angeltape. The album’s final track, “Grief in Fantasia,” is also its longest, clocking in at a little over five minutes. Once again, Brown’s laconic declamation is positioned against saxophone wails, biting guitar duets, and a propulsive rhythm section. Eventually, Brown’s voice is offset from the guitars, creating a call and response with a two-note riff that is then followed by considerable collective instrumental mayhem. All of a sudden, the music halts, ending with a terse statement of the two-note riff.
Drahla clearly knows their progenitors, but one needn’t focus on this legacy when listening to angeltape. It is a singular document by a distinctive and up-and-coming group.
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