The Drums
Portamento

“Portamento” is more a record of regrets than of joy. Joy because we find The Drums where we left them, with the same lightness, a contagious danceable desire for escape in a revival key. Regrets because this record could have been a masterpiece in its genre, yet in the face of a formidable first half of the album, in comparison, the second is a collection of recycled sessions in undifferentiated dullness.

Not much has changed in the months that separate “Portamento” from the debut; the guitarist has been replaced as he retired from public life, another member has joined, here and there a timid saxophone appears, and the personality of the singer Jonathan Pierce asserts itself more clearly than ever, without him it is clear, The Drums would be a different story.
As mentioned, the start is one of the best: “Book of Revelations” is the anthem to atheistic love of the new millennium. “Days”, marked by minimalism, is characterized by a rare depth with its crooked pace dictated by the bass. “What You Were” is in my opinion the best thing done so far by The Drums: a disco-hit sprinkled with dark elements that turns into pure sound optimism in the chorus. With “Money”, the dancing continues, this time on the irreverent side. “Hard to Love” is another peak of the band: a romantic groove for a slicked-back Casanova where synthesized bass, guitars, and synth perfectly blend with the trills of the vocals. With “I Don’t Know How to Love”, the last of the sparkling bunch, the band delivers a poignant piece for teenagers to cry endlessly to in their bedrooms.

Unfortunately, here The Drums abruptly hit the brakes and shift into reverse: “Searching for Heaven” should be taken for what it is, an unbearable synth loop that spins on itself for 3 minutes. “Please Don’t Leave” is a cacophonic whine irritating any orifice capable of swallowing sound waves. “If he Likes it Let Hem do it” is a poorly executed attempt to transform into goth. “I Need a Doctor” despite its enjoyable chorus gets lost in its length and quickly becomes cloying. “In The Cold” is another whine, moreover out of tune and depressed.

With the catchy but nothing more than that closure of “How it Ended” The Drums regain musical modesty, leaving us bitter-mouthed and with a question: will the next time be the chance to pull off a coup and become pioneers of a pop revival that embraces various tastes and musical styles to reconcile punks, indiesnobs and those who only watch mtv?