“Cannibals is simply an outlet of repressed rage, disgust and anger towards the system and the widespread unspoken issues that have arisen as a result” Taylor McAuliffe of Droves.
For years I have always been attracted, body and soul, to bands with strong political messages, from The Clash, to the Crass, from the Redskins to Billy Bragg, as a very young angry teen I was so touched when the latter sang ‘Which side are you on, boys? Which side are you on?’.
But over time my approach has become increasingly detached, rock has become more and more an intimate and individualistic affair, only the raves have had partly the same meaning, even if mostly in a more abstract way of participation, ‘we are one family’ from the anthem of a Berlin’s Love Parade of the late 90s, more than political, and meanwhile, the world gradually continues to deteriorate into the shithole it is today.
Rationality has taken precedence over anger, nihilism over hope, and even recent popular protest movements too often outer-directed by the system and the mainstream media, have certainly left ancient passions unawakened.
Hailing from Wollongong on the south coast of Australia, but based in Sidney, five-piece DROVES, comprised of Phillip Spiteri, Taylor McAuliffe, Luise Martin, Jonathan McKenzie and Tiernan Browne, return in the new year with their fierce new single ‘Cannibals’, following a very rewarding 2019 signed by the release of their debut EP“Bloodline” and high-energetic live performances over tireless tours.
An urgent anti-capitalistic defiant tirade that unleashes the truth about sheeple as a life born into slavery working for the machine.
This time the band’s vibrant, fresh and dynamic sound, usually tinkering between ’80s-tinged Indie Rock, New Wave and Post Punk, take vigorously the plunge into tense, anger-ridden territories of the latter.
A maelstrom of throbbing, heartfelt emotions ripping its way through growling and sharply pounding sonic drive that rumbles, roars and clatters along, built on high-voltage-laden guitars, ominously ground-shaking taut bassline, just about grounded by uncompromising drumming and punctuated with 80s wave-coloured glowing synth stabs, coalescing into a chaotic backdrop for merciless vocals that alternate between abrasive breathy frustrated rants and impassioned pained emotional pleas urging a revolutionary statement “And if all goes to plan we could overthrow the 1%”.
Let the heart speak, and for little more than three minutes a revolution will still seem possible.
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photo by Teel Studios
