There’s a lot more to tHe drop than odd capitalization; try depth-defying soundscapes, complex orchestration and philosophical lyrics for starters. Despite rampant comparisons of their “rock noir” style to such Brit bands as Radiohead and Coldplay, tHe drop actually defies comparisons. Like all great bands, they’re neither here nor there, opting not to follow in the footsteps of any particular idol, but instead wandering wherever the music takes them. However, this doesn’t prevent the band bio from perpetuating such comparisons, stating instead that their sound “floats in a space where Sonic Youth and The Red House Painters are having a torrid affair.” Whatever. Whether tHe drop is the product of immaculate conception or the bastard child of various experimental indie/alt rock groups is beside the point. They’re just plain rad. Although the band has only been around for some four years, they’ve already managed to make a name for themselves in the competitive Seattle area music scene. Their first album, The New Horror Guidelines, was a hit on local radio station KEXP and received rave reviews from both Seattle and national critics. This year, with the road to indie rock success already paved, their followup album has done just as well. Complex and moving, Iceland is, in many ways, a tour of emotion conducted through sound. Says lead singer and guitarist Christopher McBride, “We like our people to be engaged and curious and confused and inspired and moved and punished and exalted and everything in between.” The band’s penchant for mood, however, doesn’t come at the expense of intellect or humor. Given the opportunity, they can wax eloquent about the philosophical underpinnings of their music, or, in nearly the same breath, offer the world’s most hilarious observation of Russell Crowe. “He is lame,” says guitarist Roman Parker. “He’s one of those guys that has no shoulders... just a neck that turns into arms. You can’t trust those kind of people.”
- Melissa Amos, Soundcheck
NEWS & REVIEWS
The Drop took the stage quietly, opening with ‘Spiderbite’, their first single off their recent album ‘Iceland’ and quickly whipped things into a frenzy with Christopher McBride’s Radiohead meets Sunny Day Real Estate vocals. The Drop wax and wane, always swirling you into a whirlpool that you don’t want to leave. Guitarist Roman Parker has a plethera of pedals that he uses to go from dreamy tremolo to intense distortion and a chorus that creates his perfect Cureish leads. Dreamy and understated at times, The Drop use intelligent lyrics to wander around in their melodies from song to song until ‘Refrain’. And just as they started, The Drop sweetly pull down the wall of sound, croon a few lines and say goodnight.
- Nexus Underground: Portland Show Review
Inevitably, Radiohead, Coldplay, and perhaps even Travis comparisons will start cropping up in reviews of this release. It’s too bad, as these comparisons will surely overlook the talents that this band has. Dreamy and atmospheric pop music that maintains a sinister under-current. The opening track, “Spiderbite,” begins with a beguiling bit of understated melody that sounds like something off of Kid A before abruptly changing direction and raising the intensity level. Christopher McBride’s vocals, of course, contribute a tremendous amount to the overall effect. His voice is soaring and emotive and, when compared to the current standard of music that emphasizes baritone moaning, a revelation. Perhaps, the American singer he resembles most closely is Carlos Forster of For Stars, who is also capable of inflecting his lyrics with subtleties and nuances.
- Terry Eagan, Ink 19
The Drop is just the latest Seattle-based band to capture the spotlight with their new and innovative style. They continue in the vein of ‘rock noir’ with their second release, Iceland. Formed almost three years ago, tHe drop has always pushed the boundaries into obscure and inventive territories, and like the legendary Bowie/Eno years, experimentation has always been a key ingredient in this band’s framework. Combining elements of industrial with dream pop, tHe drop creates a dualistic nature, which is accentuated throughout the recording. The blending of styles is immediately apparent from the first track. ‘Spiderbite’ which, in addition to an Industrial opening, encompasses earsplitting guitar work and melodic and solemn vocals. The group experiments with a string orchestra amongst translucent guitars on ‘Kevin Spacey’ and ‘Upside Down’ (which is already receiving heavy college radio airplay) is an airy tune with a slow moving cadence. It would be easy to compare this group’s work to bands such as Coldplay, in part because of Christopher McBride’s melancholy vocals. Yet tHe drop takes exploration to new heights without apology and creates harmonious soundscapes amongst synthetic beats, samples and chaotic guitars.
- Tony Englehart, Unpop / Crud
A wonderful debut album of hypnotic guitar rock laced with grand drama and epic passion from this Seattle band.
- Don Yates, Program Director, KEXP 90.3 FM Seattle
One of the most promising local debut albums to come out in quite some time is “The New Horror Guideline” from The Drop. Many bands can muster a nice song or two, and then fall off hard. This album has a clear standout, the epic “Carl Jung,” but also a handful of other songs that are almost as strong. The music style of The Drop ranges from pyschedelic pop to lo-fi indie rock. Roman Parker’s guitar is elegant and powerful, and Christopher McBride has the potential to be one of the best rock singers in town.
- Tom Scanlon, Seattle Times May 19, 2000
What I like best about the Drop is not their utter unadherence to the tired indie-rock guidelines that bind and gag so many bands (although I’m quite fond of that particular aspect of their constitution); my favorite thing about this local quartet is the serious soundscape of noise and beauty that results from their earnest, feeling rock songs. Rather than falling prey to the cult of Built to Spill soundalikes or shamelessly retrofitting themselves to the Byrds’ sweet sounds, the Drop create a dreamy, otherwordly arena deep in the caverns of your ears--where Guitar are as effortlessly riffed as they are transformed into hushed, moody machines; vocals are soothing even in their torment; verses and choruses astound each other; and crackling, fuzzy noises intersect and add to the alchemy. The song “I Don’t Know” would play marvelously on a mix tape next to Sunny Day Real Estate’s “In Circles.” The line “I keep trying to break your fall” sets up a guitar line perfectly enfeebled and enhanced by what can only be an effects pedal set to Sinking. “27 Positions” starts off with the pulsating noise of your own heart, convinces you that “Every, every, everyone’s a star,” includes radio interference that seems to have been mysteriously channeled from a 1960s NASA research trip, and ends with a jazzy segue into “Faces Maudlin.” These are not exactly the kind of songs you find yourself singing along with-- rather, you think along with them, tangentially, morosely, easily, endlessly.
- Laura Learmonth, Seattle Weekly
With elements of Flaming Lips’ orchestrations, XTC’s intelligence and The Cult’s aerobic take on catharsis, The Drop has fallen upwards into the arms of critics and normal folkalike. Diversifying their musical portfolio, singer Christopher McBride somehow pulls off his provocative love ditty to Chelsea Clinton with a straight pop face.
- CMJ ChangeMusic 2000 Preview
When a friend of mine got the Drop’s The New Horror Guidelines a while ago, she simply pleaded with me to go out and buy it. She described it as Sunny Day Real Estate meets Red House Painters, and I must admit, I was intrigued. Upon listening, I had to credit my keenly tuned-in friend for pegging the Drop’s Christopher McBride as a darkly gothic Mark Koselek sound-alike. The dynamic push-and-pull of the Drop’s distorted guitar-driven melodies complement the jagged beauty of McBride’s vocals, making the Drop a pretty safe bet for those that favor the sounds of the Cure, old Jane’s Addiction, and Screaming Trees.
- Laura Learmonth, Seattle Weekly
I think that this band has a very promising career ahead of them, we’ve talked a little bit about the fickle business of the music industry, so you never know what’s going to make a band jump into the greater chasm out there but this band has what it takes...they make a lot of dramatic shifts in their music, and I have to say they make it so effortlessly and fluidly. They’ll have this really dynamic range of sounds, they’ll have this loud fuzz or distortion guitar and they’ll just smoothly segue into a beautiful lulling interlude, and I’ve never heard a band or it’s been a long time since I’ve heard a band do that so well and so fluidly...the lyricist and vocalist Christopher McBride covers a lot of moods in his music, it’s sort of a maelstrom of sounds and also topics that cover everything from desperation to longing, a lot of hope in there, it’s kind of a brooding sound overall, but the lyrics are very straight forward and very intelligent...it’s a really dynamic album it’s full of a lot of tension and passion, I thinks it’s quite gorgeous.
- Cheryl Waters, KUOW
It’s an interesting comment on the current state of rock music that a band like the Drop sound as profoundly earnest as they do. Their debut record is littered with loud distortion, anthemic choruses, and giant, Cheap Trick-esque guitar hooks, yet it’s most definitely a record for grown-ups. Alive and unpredictable while at the same time restrained and seasoned, lead songwriter Chris McBride uses those loud Guitar as a springboard for reinterpreting, instead of merely reliving, youthful needs and desires. Unpredictable twists and massive dynamic contrasts create a sound that constitutes a far more harrowing experience than their overt melodicism implies. Epics such as the standout track “Carl Jung,” and angry rockers such as “Into the Red Red Room” find disturbing edges, tracking dreamy lyrics through dark, murky harmonies. McBride drops his guard for only one song, on the (hopefully) facetious “Chelsea,” when his low tenor breaks into a thin falsetto to expound lustily upon the youngest Clinton’s womanly virtues. That song aside, this is a rewarding debut for Nirvana-fed rock fans starving for music with some small measure of dignity.
- Matthew Cooke, Amazon.com Editorial Review
Here’s another Seattle band, young and fresh and taking the Seattle sound to new places. It ain’t the rock n’ roll, and it ain’t that Modest Mouse kinda twang. This fits in with bands like Voyager One, Kinski, and the Melody Unit. Strong and ethereal, droning and driving and drifting. Is it post-shoegaze? Is it post-anything? Or is this just another new band making their own way into the world? The guitar builds up slow soundscapes of echo and reverb, bright and delicate. Snowflakes against the heavy underwater push of the bass. The vocals strong and confident, dynamic against the melody. The songs complete and cohesive, and ready to take on the world.
- Marcel Feldmar, Ink 19
