http://www.decoymusic.com/index.php?content=reviews&reviewid=22070&oldreview=0
Sometimes things get a little one-sided on what’s covered here at the Decoy. So every now and then it’s nice to take a break from all the artsy-fartsy indie sketches, useless something-core, and scrawny mascara-wearing boys donning girls’ pants. After all, there’s still room in the rotation for some good old-fashioned rock n’ roll. Now before you consistent readers start thinking ahead of what’s about to be stated, Minneapolis’ Drift Effect has a lot more to offer than a quick-fix nook to fill in the days it takes for that new Lis Er Stille or Anberlin release to arrive in the mail. Be Something is quite an impressive upstart release. So strong in fact that it’s a highly probable destiny that the majors quickly take notice and eventually poison them into becoming the next Hinder -- or worse, the next Nickelback.
But let’s cross that bridge when we come to it, shall we? Pessimistic assumptions sidelined, the band’s present is commendable enough for those who still have an ear for the style of music they write. From beginning to end, tight musicianship is plentiful on this first LP release (as well as their previous self-titled EP). The album brandishes rugged riffs that pounce between traditional post-grunge power chords, retro buzzsaw-esque southern metal, and semi-progressive noodling. Energetic textbook military drumming backs up this weathered technique, cohesively and strategically timed to conjure that famous pop-metal hook that gets kids’ heads bobbing uncontrollably. Drift Effect puts the final stamp on their brand through the passionate vocals of lead singer Ray Smart, who also possesses a tested style that hovers impeccably between influences of Chris Cornell and Eddie Vedder.
In layman’s terms, just think of Audioslave’s only commendable effort -- their self-titled LP; doubleDrive’s first and only decent album, 1000 Yard Stare; Seemless’ current work, What Have We Become, and send to the blender with the gentler side of Patrol’s Destinations, and you’ve got a decent idea about what to expect from these guys. Again, before you seasoned Decoy followers start thinking, “been there, done that,” these guys still manage to skillfully construct songs that are never cliche or predictable despite the very familiar dynamics.
Leading tunes such as straightforward dude-rock grooves “Shake” and “No Rides” affirm the group’s knowledge of and ability to make accessibility and creativity coexist. It’s a feat that’s been missing from the post-grunge genre since the rise of weak, one-hit wonders (sometimes two) such as Seether, Breaking Benjamin, Shinedown, Crossfade, heck, the list of blandness could go on and on.
Yet, coupled with Drift Effect’s proficiency at creating all-can-listen sounds that excel over their less-talented peers, probably their biggest selling point is the earnest nature of their lyrics. If they aren’t delivering a kick to the testicles with the anger-driven political roasts like “The Clutter,” they draw honest emotions of estranged relationships through the story of “Not For Good.” The latter mentioned is the type of love cry that Three Days Grace or The Butterfly Effect simply can’t write without being laugh-out-loud hokey. Arguably, the crowing achievement of the band’s attention to unpretentious, thought-provoking words resides in their closing track. “Be Something” plays out in the same style of serenade that made millions fall in love with Creed, sans Scott Stapp’s hypocritical facade.
Hopefully, this level of integrity will be long-lasting for career entirety, as it often disappears for other bands of their caliber. Will Drift Effect gradually de-evolve with each new album release? The trend report created by this band’s genre says that it’s inevitable. Still, just like everyone before them, they have the chance to prove us stuck-up connoisseurs wrong. Have faith.
--MJ Austin Decoy Music