The Drin's Double Album Blends Analog Textures with Modern Unease
The Drin's 23-song double album trades murky electronics for mostly analog instruments, drawing on record-collector touchstones like kosmiche rock, post-punk, and neofolk. The band injects these influences with a contemporary sense of anxiety, making the sprawling record both accessible and unsettling. Each track works within compact pop-song structures while retaining an improvisatory spirit.
The Drin's sixth release arrives via Feel It Records, a label known for championing underground rock. Bandleader Dylan McCartney launched the project in 2020 with a home-recorded cassette, and has since expanded to a six-piece ensemble while maintaining simultaneous membership in two other Cincinnati groups, the Serfs and Crime of Passing. The album's 23 tracks feature saxophonist Eric Dietrich as a key textural element, with his horn work shifting songs' moods without altering their core structures.
The record draws on a wide stylistic range, from motorik space-rock to folk-leaning acoustic passages, all anchored by McCartney's spoken-sung vocal delivery. Reviewer Stuart Berman notes the band's approach mirrors the prolific output of the Brian Jonestown Massacre, but grounds it in a Midwestern sensibility rather than California psychedelia.
This review reflects a broader trend in contemporary rock where bands mine archival influences while addressing modern anxieties. The Drin's approach may resonate with listeners seeking music that feels both historically grounded and emotionally current. For the independent music ecosystem, the album's accessibility could expand the band's reach beyond niche record-collector circles, potentially strengthening Cincinnati's underground scene visibility. The positive critical framing may also influence how similar analog-focused releases are evaluated, though its long-term cultural footprint depends on audience reception beyond the review cycle.