Memory Drawings, the second LP by San Francisco’s The Drift, delivers memorable songs, each offering a distinct impression. Originally a Lazarus/Tarentel side-project, The Drift have slowly evolved into an original and compelling full-time group of their own. The guitar playing of founding member Danny Grody (Tarentel) works well with trumpet of Jeff J. Jacobs, and the bass/drum combo of Safa Shorai and Rich Douthit (Halifax Pier) anchors their interplay.  In the three years since the release of their debut, Noumena, the four-piece have toured the States and Japan, and seem to have found their groove working with each other.  The current line-up, which took shape after the departure of founding member Trevor Montgomery (Tarentel/Lazarus)  was still learning to work together when they recorded Noumena, and the development in their songwriting since then is hard to overstate. Though a strong debut, it was not memorable enough to make The Drift  a strand-out group.  Their EP for Temporary Residence’s Travels in Constants series was also impressive, but veered more towards the ambient rock one might expect from a Tarentel side-project.

With Memory Drawings, The Drift still give themselves ample time to explore concepts, but seem to have tightened up their song-structures and revolve around more memorable phrases, creating both catchy songs as well as impressive soundscapes.  Some songs seem better suited to be in the background (“Golden Sands”) whereas others immediately grab ones attention (“Uncanny Valley” and “Smoke Falls”), giving the record an effective sort of ebb-and-flow which suits their music well.   “Golden Sands,” despite my labeling it as background music, is still a standout track, branching out further with the trumpet fading out and synths taking its place.  The beat is also one of the trippiest on the record.  “Uncanny Valley”  demonstrates the band’s strength in songwriting, with a memorable guitar riff and a bridge which makes interesting use of a common pop chord progression.

The refined dub/groove sound of this record owes a lot to the very organic interplay between the four musicians, as well as the excellent production job.  Once again recorded by Jeff Pellicci at San Fran’s Tiny Telephone, Memory Drawings was recorded directly to analog tape, and the old-school feel and dub-inspired production style suits their music without causing it to sound dated. Blending guitar, upright bass, trumpet, electronics, and drums, the focal point of each song oscillates, letting the guitar pass off the melody to the trumpet, while the bass-lines and jazz-inspired drums hold down the composition. The guitar varies between delay and echo effects, tremolos, and arpeggio chords, at times varying the melody and at others backing up the trumpet, which often acts as the ‘voice’ of the group. The trumpet itself seems to employ effects on occasion, and sounds rather unique compared to others we’ve heard in the rock world.

Comparisons to Do Make Say Think are inevitable. The bands certainly have much in common, but the differences are not minor.  The feel and tone of the guitar is probably the most similar element, though Grody’s playing is distinct. DMST use two drummers to create more intricate rhythms, and they do not, or rarely at least, use an upright bass.  The trumpet  is now a defining element of The Drift, but brass only makes occasional appearances in DMST’s music.  So, though comparisons may be warranted, and Memory Drawings may appeal to those who were disappointed by You, You’re a History in Rust, I wouldn’t overstate their commonalities.

Like Noumena, Memory Drawings is issued as a double gatefold LP, and features an additional 11-minute long tune called “Years Gone By,” which is unavailable on the CD release. The art by Colter Jacobsen suits the aesthetic of the music well. A major step forward for the band that will surely attract many new fans, Memory Drawings easily manages to stand out and demand attention. Repeated listens only make the material sound better. I’m glad to see The Drift finally getting more attention, and look forward to future works.

[originally published at The Silent Ballet in 2008]