Slave Ambient

The War On Drugs seem to find regular members

The War On Drugs will soon be ten years old and they still have problems with the stability of the lineup. The appearance of the new and disappearance of old musicians is a fare more frequent event here than a release of a new album. On the other hand, how are you supposed to be thinking about making a new record if today you play with one set of musicians, and tomorrow it’s gonna be another one? This is the main reason why before not so long ago, there was only one official album in the discography of this American indie-rock act, Wagonwheel Blues, released in 2008. In that time, The War On Drugs seemed to be having the necessary stability and there were two people ruling the whole affair, Adam Granduciel and Kurt Vile. To immense and massive surprise, right after the release of the debut record, the group once again went through drastic changes involving the departure of three ember all at at once, one of them being Vile, who was the main writer. As many critics and band’s supporters noticed, this turned out to have a positive effect because it left only one leader in the band with all the creative difference gone. The new version of The War On Drugs headed by Adam Granduciel alone, released in 2011 the long anticipated second long player, Slave Ambient.

Dusty roads of rock and roll

The Slave Ambient material was made at Granduciel’s home studio on his Philadelphian native soil, and the result was a dozen well thought through songs for forty seven songs. Stylistically, The War On Drugs changed only a bit in the three years following the debut release. The band still looks for inspiration on the old American rock that was born on dusty roads, in small towns, and in head aching of thought about the nation’s destiny. The difference is that, with the same set of tools, the band uses them more wisely, considerately and thoughtfully. Short of intriguing intros and bombastic choruses, the Slave Ambient tracks are more like fragments of thoughts alternating in the endless flow of consciousness. Clanging, deliberately careless guitars, harmonica as if slightly put aside and obedient to their rhythm, steady drums walk from track to track. With changing motifs and words, you still have the sensation that you never leave one big song as long as you listen to the album. Sure, there are vocal parts and melodies which among all these good songs single out real highlight. This is track one, Best Night, the one that sets up the topic of wandering for the entire record. It is, no doubt, Come To City, where the musicians made a fantastic buildup from chaotic and noisy guitars into powerful drums put in front. And, of course, this is Baby Missiles, made by Bruce Springsteen’s musical recipe.

Innovative touch by The War On Drugs

The new album from The War On Drugs was destined to overcome the predecessor in all aspects for a number of reason. Wagonwheel Blues was prepared in a rush and in fuss, bringing out the while collection of mistakes characteristic of a debut work. In its turn, Slave Ambient was originated in Adam Granduciel’s bright mind long ago. The musician nurtured the idea patiently, waiting for the right time to come, and it did come finally. The new lineup of The War On Drugs featured incredibly talented and ambitious performers, like multi-instrumentalist David Hartley and Robby Bennett, as well as drummer Mike Zanghi. As a matter of fact, the band’s main merit is not that they brought back to life musical and lyrical legacy left by Neil Young or Bruce Springsteen. Keeping the simplicity and sincerity of this music intact, Slave Ambient puts a thin film of electronica on it. This adds freshness, fascination and even charm to what could have sounded a little bit worn out and trite. The synths here do not distract, confuse or disorient, but what they do is help true rock and roll express itself fully and brightly. Electronica on Slave Ambient s cold water than freshened rock and roll to make it live a new and colorful life. A brilliant work from The War On Drugs that makes us demand a powerful continuation.