Drive A – Loss Of Desire

I recall reading and agreeing with a review that once said something to the effect of “there’s only one Bad Religion for a reason,” with the same logic being transferred to that of NOFX and Blink 182.  The thinking was that these staples flourish in their own unique sound, and while in some respects outwardly simple, actually understand their own dynamics to a point where few, if any, could ever replace or replicate them.  After listening to Los Angeles punk rockers Drive A’s debut full length, Loss Of Desire, I’d like to include Sum 41 on that small list.

You see, Drive A has a spark of its own, but at least for me, the band lives in the stylistic shadow of their Canadian counterpart.  This isn’t to knock or question the quartet’s authenticity or, uh, drive, but to point out that I haven’t been able to look past the obvious comparisons.  Vocalist Bruno Mascolo shares the same snotty defiance of Deryck Whibley in pitch, tone, and plain old attitude; with the chords sharing familiar loops played at comparable tempos . Then there’s the ode to hard rock and metal that shapes the edgier moments like in “Head Underwater,” making room for a clear parallel with the vision of formerSum 41 bassist Dave “Brownsound” influence on his band’s earlier material.  It’s eerily familiar, feeling as if the band uprooted and supplanted their chief influence’s very soul.

None of this would be quite so detrimental if the band didn’t foundationally rely on such a heavily recycled output.  Even at their best, their essential hooks practically spell out “been there done that.”  In particular the title track kicks off the album sounding as if drawn straight from a Sum 41 radio single.  Some listeners might be inclined to point to the following track “Everyone’s Alone,” as something different and unique – and based on the distinct garage rock overtones, there’s some merit to that.  However, instead of serving as a breath of fresh air, I simply found myself making comparisons with Sum 41 side project The Operation M.D., solidifying that try as they might, the band just can’t step out of the shadow and come into their own.

Some may argue that Drive A is harder than Sum 41 in many respects, and that’s true to varying degrees.  I should acknowledge “Smiling With Hate” features some interesting pedal work, scaling effects, and post-punk flutters, but the chorus undoes much of that early progress.  So really, those arguing otherwise are grasping at straws to the point of closing their eyes and plugging their ears to the rampant similarities.  Now don’t get me wrong, I’m all for bands playing off their influences, but Loss Of Desire’s rampant emulation merely results in a tolerable listen evoking very little fulfillment.