Full Speed Ahead

D.R.I. has been one of the leading forces on the planet in terms of crossover music. Even though they are still as active as ever in terms of concerts, it seems like they quit writing and releasing records quite a bit ago, sometime during the mid-90s. This may seem like they are lazy to do so, but I support it. If there has been no forceful inspiration, and a solemn decision to write and release, don't do it. I'd rather listen to the six albums they released than see the band release a bunch of subpar CDs that have no business being in this band's discography. In any event, at this point in time, the final full-length album from D.R.I. is titled Full Speed Ahead, and it is one of the most excellent conclusions I've ever heard in any band's career. They really saved the best for last. Fans before the release of this were right to presume that this would be a flop, since Thrash Zone, and in particular, Definition were by far the weakest D.R.I. could do. But this proved everyone wrong. This album exceeds everything the band ever did.

Full Speed Ahead is by far the most well-rounded album by these guys. The record is extremely well-balanced between the mindless, ridiculous speed obsession we know damn well from this band, and the juicy, rhythmically pleasuring slow to mid-paced, sludgier songs as well. The record however is much more thrash metal than punk at this point, the latter only being a supplemental addition with certain elements, such as some of the strumming progressions we can hear which reminisce some of the early days of faster-paced punk, and anti-religion on the lyrical end. However, the main backbone of this record is good old thrash metal, with fast-paced, palm-muted riffs presenting the loud, fast, and aggressive nature of the genre quite effectively all the way through.

The record is of a very high quality from beginning to end, and it is a challenge to try to highlight songs. Of course, two of the most well-known D.R.I. songs are off this album, "Under the Overpass", and "Syringes in the Sandbox". The latter is a slower moment, but those unbelievably dry, sticky, gripping riffs, and Kurt Brecht's catchy vocal verses explain why that's one of the best D.R.I. songs of all time. One of my personal favorites is the rather brief opener, "Problem Addict", a song whose message demands a presentation like the one the band resorted to during it. It is brief, frantic, and maniacal, but only they could make a song that trivial work as an opener without any complaints. "Wages of Sin" is also one of the best moments of the entire band, not just the entire album, with great, fast-paced aggression contained in a ruthless attack on the wrongdoings of religious authorities. It encapsulates the band's vocalness of problems in the world and society, but it's one of those moments when they took themselves seriously as opposed to most of their early material.

Moving on to the musical technicalities involved, the guitar work indeed is an interesting enigma. The riffs are simple and basic, but on this album, they don't need to be any more complex or technical. That's not the whole point of this record, to paint wonderful melodies. This is a fucking D.R.I. album that's intended to absolutely t(h)rash the place on full volume, with its ferocious speeds and Kurt Brecht's charismatic, constantly dissatisfied vocals. For that purpose, the riffs are more than perfect. Speaking of whom, Kurt Brecht's performance is also remarkable, as always. His vocals are some of the most recognizable out there because he delivers every line with feelings of anger, contempt, and irony at the same time. No need for unnecessary screaming, growling, or high-pitched squealing. His usual tone is perfect to get these points across on the album.

Strangely, the most captivating element of this record is not the guitar work, it's also not the vocals, but it's the percussion. My fucking God, guys, this is some of the best drumming I've heard in my entire life. I rarely ever get astonished by a drum performance as the riffs and vocals take up most of my attention. But on this album, it almost sounds like the drums were the lead instrument. They are played with utter ignorance and looseness, filled with savage double-pedal pounding and ruthless fill left and right. Take "Syringes in the Sandbox" as an example, whose verses are constantly fueled by that hammering, striking drumming that you just can't resist headbanging along to. To take this over the top, the drums are produced perfectly. The kick drum is flat and hard, but the snare is what's bewitching. It's not excessively loud, nor does it have an echo to it or an excessively deep tone. It's one hundred percent transparent, but it still hits so God damn hard, it's incredible. Every hit on that snare is a full-force punch on the speakers and the listener, but we wouldn't want to have it any other way.

The last album of well, let's be humble... the most important crossover band of all time won't let you down. It is a lesson in catchiness, anger, contempt, and moshing. The band lived up to their potential on this album, and if you put this into context, and remember that this came out in 1995 when thrash metal in particular was living its absolute worst nightmares, this becomes all the more delighting. If you like thrash metal only, this might not necessarily be for you, but you should still give it a try. If you like punk only, same thing. If you like thrash metal and punk at the same time, then you're in business. Then look no further and start listening immediately.

Once I had finally gotten used to wattered down D.R.I. albums and in fact the over all wattered down attitude of nineties thrash and crossover in general, D.R.I. had the last laugh and came back with a vengeance in ’95 releasing what might be considered their best effort since 1987!

Whereas D.R.I. had taken three album to perfect their more mature approach to writing longer songs with increasing thrash metal influence they all of a sudden also found back their youthful energy. The result was ‘Full Speed Ahead’ which combined the perfectioned mature compositional qualities of 1992’s ‘Definition’ with the energy, productional values and idealistic pubescent attitude of 1987’s ‘Crossover’. Yes, we have the best of both worlds here. I had not expected this to happen anymore. Especially during the mid nineties. But I’m glad they did obviously.

When listening to “Drawn And Quartered”, “Wages Of Sin”, “Down To The Wire” and especially “Broke”, “Problem Addict” and the re-recorded classic “Who Am I” the band really found back some energy this time and the performance (including the vocals) simply is their best since 1987.

Of course this album is not without flaws. Just like on the previous three albums there are a few longer tunes that just drag and feature some second rate riffs compared to the other songs. For instance “No End” which goes in one ear and comes out the other. Generic riffs and no memorable chorus. The idea behing “Level 7” is nice but it just doesn’t work because of the vocal effects. Because of the monotone riffs and overstretched feeling this song sounds as if it could’ve come straight from the 4 Of a Kind session.

“Syringes In The Sandbox” starts off with the same type of sludgy doomy riffs as “They Don't Care” but “Syringes…” just doesn’t evolve into a good songs and remaines a dull mid paced track. Why on earth the band chose this song to make a video remains a mystery. This groovy song really sucks! Do you want a comparisson? It feels like an Anthrax song from the Stomp 442 album whereas the rest of the album really reaches Persistence Of Time excellence. Same would go for “Dead Meat”. Dull groove once again and never building up to something nice. “Sucker” and “Underneath The Surface” are slightly better pounding mid paced songs but still mediocre.

As I said earlier in my review the band had beeen trying to write longer songs for some years and on their ’92 album “Definition” the maturity finally started to shine though with songs like “Guilt Trip” (but was ruined by the lame performance and sterile sound). Here on “Full Speed Ahead ” we have some of D.R.I.’s best long songs which are well composed and performed equally good. Songs like “I'm The Liar”, “They Don't Care” and “Girl With A Gun” are simply cleaverly composed top notch crossover.

So even though this probably over all is actually the best D.R.I. album since 1987, there are still some songs that either annoy or bore the hell out of me. So in the end I must deduct some points due to my honest nature.

Mediocre: No End, Level 7, Sucker, Underneath The Surface
Bad: Syringes In The Sandbox, Dead Meat
The rest: Good or brilliant!