DND - Flow (Album)
No, I am not reviewing the latest ‘Dungeons and Dragons’ as some of you gaming fanatics may have eagerly assumed. London four-piece outfit DND (acronym for ‘Dead Next Door’) have much more to boast under their belts. Since forming in 2003, they have an EP and two full-length albums to their name. The present album in question, Flow – which frontman Andreas Sepp mixed and produced himself - follows on from their recent EP Time to Fight and first album Low Budget Rock’n’Roll. A rather fitting title for their debut it seems, as the boys’ sound is precisely that – low budget rock in its raw essence.
I do not like to marginalize an act by pigeon-holing them with artists of the like, however I do feel it to be necessary to aptly convey their particular take on genre of ‘aggro-rock’ (as drummer Gavin Ransley has referred to it). Such associations also allow a manageable way of encompassing my thoughts on the aforementioned album. With an intrinsic societal angst in the lyrical work of Sepp and the notable guitar distortion provided by Eddie Darko, Nirvana foremost comes to mind. The singer’s Cobain-esque angsty whine starkly sets the tone for the sense of self-reflection and introspect inherent in his words. Both Ransley’s hard-hitting momentum and Sirel’s confronting bass lines seem to have recurring places throughout Flow, reminding one listening that this is first and foremost a rock band. As a collective, their particular sound touches on elements of The Church and Joy Division, but by no means adheres to one nor the other. Whilst many-a-reviewer have likened them to The Cure, I cannot seem to make the connection aside from the obvious dark-rock affiliation. Whilst DND are not attempting to make any ground breaking sounds in their respective genre, they have indisputably found a commercial viability to the heavy sound of feedback driven chords and reverb soaked guitar riffs.
As a pianist, I am intrinsically drawn from the album’s opening, 15 Minutes Late, the ethereal sounding black and whites resonating a favourable chord and showcasing Sepp’s capability as an avid lyricist. Likewise, the lyricism of title track Flow seems to be an elegiac portrayal of an alcoholic. Although central to the album, this track does not necessarily stand out as did title track to their last EP Time to Fight. Pounding drums lead into a solid bass line and U2’s ‘Edge’ style melodic guitar work on the latter, with the calm verse-heavy chorus structure that characterised much of Nirvana’s music. My personal pick of the album. Lyrical standout is Sense of Place with its deeply poetic dark romance that dances over a frenzy of guitars. As for Twenty Seven, the strong rhythm and beat do nothing to compromise the hard-hitting nostalgia of Sepp’s words. Can just see a glimpse of The Cure here. A mention must also be made about the commanding guitar line that guides the later Saliva Colada.
All things encompassed, the album’s strongest points do reside in their earlier EP release, with the additional tracks on Flow merely reiterating rather than building on or diverging from Time to Fight.
