Rain City Drive – Things Are Different Now
Release Date: 27th September 2024
Label: Thriller Records
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Genre: Pop Metal, Djent, Groove Metal, Post-Hardcore.
FFO: Sleep Token, Bring Me The Horizon, I Prevail, Bad Omens.
Review By: Andy Spoon
After having been impressed in the last 2 years by bands like Bad Omens and Sleep Token, both arguably putting some of the top albums of 2023 together, respectively, I wanted to try and delve a little deeper into the genre, myself and offer a review from someone who’s an outsider-looking-in. Generally being a fan of the more extreme genres, I think that I wasn’t prepared for the amount that I would like Sleep Token’s now-iconic, Take Me Back To Eden.
While I generally don’t like metalcore, I think that this djent-pop genre or similar presentation seems to lie somewhere between regular alternative pop rock and metalcore – e.g. eliminating most, if not all, harsh vocals, but keeping heavier guitars and a few breakdowns. I fully expected the pop sub-surface to be especially prevalent, but I am being sure to not gatekeep the artistic offering, as I’m expanding my mind to the fact that there is some changing in the metal scene across the world with mixed-genre bands, especially with the unbelievable success that Sleep Token and Bad Omens are finding with fans of other mainstream genres.
I think that Rain City Drive is definitely cut from the same cloth as Bad Omens, finding some of the same power in the catchy hooks and smooth vocals. I think that the blend of the electronic elements with the djenty guitar is a great way to add some great additional layer to the post-hardcore genre, effectively, what this would be without the heavier influences that bear the use of the down-tuned guitars (Periphery, Spiritbox, et al). I don’t want to minimize the artistic value, though. It would be too easy to say that Rain City Drive is just a harder version of Isles and Glaciers, because too much time has gone by for it to be derivative, especially given that there is a new wave of djenty post-hardcore (or whatever silly subgenre name will be given to this genre by the proverbial toolbags of the internet review world, like me).
Most of the tracks are musically-interesting and intense, each having a unique musical undertone that is generally inline with the post-hardcore. However, the guitars are noticeably heavier on the groove-laden choruses and bridges. The silky smooth vocals are definitely apt for the juxtaposition of the intensity of the rhythm section. There are layered vocals done in the pop style, which really seems to work on the album and doesn’t get very old. It sometimes even feels like butter on warm bread, much like the vocal delivery that Cold Night For Alligators employs. Further, the tracks come in a shorter time across the majority of the album, probably courting radio play or single treatment, something that doesn’t bother me as it all seems to be well-done.
There’s too much of the bland four-chord post-hardcore that I can’t stand, which is one of the reasons why I left the genre to rot back in 2012. I think that the revival of the post-hardcore elements is presently taking place, sans the “scene” that was once the bane of every local Denny’s in suburban America, sans the v-necks, the swoopy hair, and the guy-liner. There is definitely a level of sex-forward presentation that seems to come straight from the pop roots, something that I’m not really into, but I definitely respect. Would you call it “guy with six-pack” rock? One of the things that always made metal something unique (to me) was the fact that the influence of sex wasn’t as pervasive as other genres. That being said, just look at the 1980s metal scene to see that metal has had frequent waves or periods that seem to appeal to the female gaze.
Regardless, I am trying not to spend much time bitching about that issue and just want to give an honest review about the music. However, it bears repeating that there is definitely a popular new wave of sexy pop rock that has taken elements of the heavier genres to emphasize its message. If anything, we should take it as a compliment that our influence in seeking new, genre-breaking sounds and tones has crossed into the mainstream, further legitimizing our roles as influencers of popular culture and art. The heaviness that has invaded the pop music scene cannot be denied as having originated from the various worldwide musical undergrounds in which we’ve poured our passion. Now that it is seeing the light of day as a structural influence to popular culture for the less-experienced listener, it’s time to take stock and appreciate the fact that metal is, was, and will be a part of the world’s artistic vernacular. What a time to be alive.
I’m not saying that Rain City Drive has broken any barriers with Things Are Different Now, nor am I saying that this is the first time that metal or heavy music has broken into the palate of the common music fan (Lemmy is still God). I am only highlighting the fact that when the culture that we love so much bleeds into the mainstream, we can only hope that our future holds more innovation as we progress into and through our musical fandoms in life. Perhaps this is just an awakening moment for me, and you might not feel the same. Regardless, Things Are Different Now is 100% enjoyable, overproduced, catchy, and sexy, all things that embody popular mainstream music; yet it is still paying homage to much of the music that we strived to seek out in its respective infancy.
Things are Different Now will be released on Thriller Records on September 27th, 2024.
(4 / 5)
