11/24/2023 0 Comments DredgIt always depends on where we are, but I think that in major cities and in what are considered “global cities”, we tend to do well. Sometimes we play shows for 200 people and other times we play for 1200 people. The United States is obviously very big and we do well in major markets. We come to Europe about twice a year on average.Ĭan you tell us about the fame Dredg has in Europe and in the US? Here in France, it’s a bit hard to consider how famous you really are… Actually we were supposed to play in Paris this time but it fell through. But obviously, if we were given the chance to play France then we would definitely do it. That is the business side that I don’t deal with. It is most likely due to routing and booking agents. ![]() Gavin Hayes (vocals): We play in Europe a lot but we don’t have the opportunity to play in France that often. Radio Metal: Dredg are an American band but you don’t play in Europe a lot. Or there are even people who wrote to me telling me it sucks and then they wrote back a month later to say that actually they like it now! » ![]() Other people will say that they didn’t like any of our old music but that they love this record. (About the new album) « I have had people write to me saying that they have always been a long time fan and now they don’t want to be one anymore. ![]() The singer may have to spend a little more time answering his emails than usual, though… Squeezy won’t have the success the previous Dredg records had, but Gavin Hayes and his bandmates couldn’t care less. So it’s nothing new to us really! ».ĭuring the ten-minutes long conversation we had at the Greenfield Festival, the singer appeared consistent with his music: sincere and genuine. Squeezy that « Most of our records had really bad reviews when they came out. During our interview, he says laughing about Chuckles And Mr. Gavin Hayes (singer) takes all these with a smile, and confesses that he grew used to it. This record actually got very mixed reviews from both the journalists and the fans. Squeezy, the band chose to innovate and go out on a limb that may, this time, leave some fans behind. A record in which the band emphasize on electronic sounds, and which melodies are very different from the ones from the masterpiece The Pariah, The Parrot, The Delusion, a concept album out in 2009 that made a deep impression after the great Catch Without Arms (2005). Squeezy, the fifth album of the American band, out since the 25th of April. This artistic freedom can be fully measured in Chuckles And Mr. It focuses the band's exploratory qualities instead of reigning them in completely.Dredg is an alternative rock band who considers music as a large range of possibilities. The influences in Dredg's sound swirl thicker than ghosts above a cemetery. But "Hung Over on a Tuesday" offers just such a blend, and "Not That Simple" opens its chorus with a satisfying distortion crunch that's predictable, but nevertheless irresistible. ("I will wait all of this time above you/is that what you wanted?") And the album could've really used more of the band's rocking side, to balance the band's prodigious use of atmosphere. The wandering "Jamais Vu" sounds like a stoned Incubus, complete with undergraduate love letter lyrics. "Sang Real" features drum processing and treated piano, "Planting Seeds" has the tension/chorus release quality of contemporary Brit-pop, and "Spitshine" has one of the record's strongest melodies. And then the churning guitar intro of "Tanbark Is Hot Lava" drops, and you're bewildered again. The title track is a standout, as is "Zebraskin," which with its keyboards and silky beat could be Cousteau or Sweetback. Catch Without Arms looks to groups like Deftones and At the Drive-In, but there's also a tremendous capacity in Dredg for straightforward pop. It's not like in the blurry emo world, where string sections crash regularly into soliloquies and it usually just ends up as melodrama. The choruses emphasize the Bono/ Chino Moreno in Gavin Hayes' vocal, and when the rhythm drops out for a contemplative piano moment, nothing feels forced because this is what Dredg has been working toward for years. But openers "Ode to the Sun" and "Bug Eyes" focus the grandeur and meandering pace of the band's past work around effective melodies and a steadiness in the rhythm. Like past Dredg releases Catch has a conceptual flow. The producer is a veteran of Deftones albums, and it's that band's rich but still rocking palette that's the intent here. It makes sense that Terry Date produced Catch Without Arms, Dredg's second record for Interscope.
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