Drew - 'Songs From The Devil's Chimney' (Source)
2/5
By: Thomas Hannan
Drew sounds like a thoroughly nice chap. Thoughtful, considerate - we think we'd enjoy his company very much. He also makes records so gentle, they sound not only like they wouldn't hurt a fly, but that they'd probably tuck it up nicely in bed.
Still, there's something that slightly grates about the whole business; perplexingly, it most certainly isn't the actual songs. Being entirely fair to the boys, they know their way around a trad-melody and successfully milk it for all it's worth; there are some fine examples of meticulously crafted creating, namely the opener 'Dig Deeper' and the Dylan-like plod of 'Changing Face' - both prime instances of Mr Drew Kennet's gift for penning an infectious tune, indeed also a talent which shines strongest on standout track 'Don't Be Denied': one of the few examples of something sinister creeping its way in, albeit through pitch-perfect harmonies and acoustic guitars.
In fact, this is 'Songs From The Devil's Chimney' in name only - the album's title is probably the most sombre thing to be found enclosed. And here's the first irritation - hearing people who can muster, sing and touch with songs not once let up with their relentless niceness is a real shame. As such, it leads us into further dangerous waters - if the mood of a record is so intent on a middle-ground, it becomes difficult to differentiate the moments of glory (which do exist) from the less-inspired drones of the album's weaker embers. Eventually, it proves challenging to distinguish between individual songs at all, not the fault of any of the tunes individually, rather a disappointing unwillingness in the songsmith to really spread his wings.
'Songs From The Devil's Chimney' is however littered with examples of why discarding Drew would be a dire mistake. There are pointers here to suggest Kennett is a capable composer simply finding his feet - the musical backdrop created with partner Paul Butler is one of sumptuous warmth throughout, but lyrically, in places it almost sounds rushed. It leads to songs such as 'Say You Love Her' sounding insincere where it should be heartfelt, the chorus of 'OK To Cry' sound mocking where it wants to be comforting, and numerous other little couplets where we could have done without being reminded that two words actually rhyme, mainly because we'd seen them coming a mile off.
If this guy ever gets venomous, it could have the capacity to be something special. Perhaps we're being a bunch of misunderstood, wrongly opinionated critics in taking this view of the record and asking this directional change of its author, but if we are, then here's hoping our stance angers him to the point of recording a song full of bitter, malicious hatred against your trusty scribe. Chances are it'd be pretty damn good.
Artists in this article: Drew
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