Discontent, a few degrees away from unease, oozes from the riffs of Dead End Drive-In’s new album, A Worthwhile Endeavour. Another release from Early Onset Records’ recent slew of disillusioned bands, Dead End Drive-In treads along a well worn path, much like labelmates Stuttr and Brass. On paper the existential crises might be getting old but on record the band makes a, dare I say, joyous argument for the resentful and the defeated.
Dead End Drive-In are a punk rock five-piece from Vancouver, Canada. Taking after such acts as Titus Andronicus, Diarrhea Planet and The Replacements, this band has no problem mixing meaningful lyrical content with relentless lead lines. Formed in 2014, the band quickly began recording their first EP, B-Movies. With that, Dead End Drive-In established themselves as an exciting local act. Fast forward to 2021: after the release of three EP’s, one full-length album, touring Canada and the U.S., opening for acts such as The Flatliners, Lagwagon, Spanish Love Songs, Off With Their Heads and Mercy Music, and the addition of new bass player Dana Edwards, Dead End Drive- In found a home with Early Onset Records for the release of their second full-length album.
The album opens with a backwoods carnival riff on “The Day I Inherit The Earth”- a lyric heavy track about the rightful resentment of young people and the world older generations have left for them. Joe Strummer-esque vocals bring to mind The Clash along with lines like “Shown no respect for the elder/ Who done put me through this swelter” and “Clutch your smugness like a bible”. Dead End departs from the 70s punk playbook with a track runtime of a not completely necessary six minutes. The next song, “Chasing Dreams is Just a Death Sentence”, calls up hair metal hall of famers and pop punk royalty. Heavy riffs and bratty vocals blend together smoothly overtop of the precise drums of Joel Panas. On “Horoscope” the melancholy starts to get old and fades into the many other existential releases from Early Onset over the past year. Matt Earle’s vocals manage to keep the track sounding original with help from Dead End’s unique guitar tone that steers closer to Dropkick Murphys than The Clash. “Everyone Gets A Turn to Rot” sounds absolutely delighted, with crisp guitars and joyful vocals, to inform you that we’re all going to die. I mean, they’re not wrong. “Human Spirit” is a much needed change of pace; a post bar brawl victory speech brought to life with a couple of amps and chugging riffs. The instrumentals leave enough room to let the rhythm section shine; this may be the first time I’ve noticed the bass, played quite well by Dana Edwards, all album. I have no comment on “Before I Start Noticing” other than it sounds like a lost Green Day demo from their early 90’s days. There’s worse ways to be described. “Dying Breed” slowly layers guitars on top of each other to create a lush soundscape complete with a catchy top riff that you’ll be humming for the rest of the day. Album closer “God Forbid You Go Off Script” makes the ultimate case for resilience and joy, both in spite of and because of sorrow. Earle’s vocals don’t sound like an imitation of anyone else here- they’re completely his own. A wall of guitars are kept from overwhelming the listener by a militant bassline and drums. The band even lets their perfectly crafted riffs disintegrate into screeches of pure noise part way through the song. The track preaches survival and joy. Coming from a band this honest I believe it.
Have I mentioned yet that Dead End Drive-In has three guitar players? No, I haven’t. Well, Dead End Drive-In has three guitar players. The band’s greatest accomplishment may just be crafting songs that don’t immediately make you ask hey, does this band have three guitar players? Not too busy but dutifully performed; calling Dead End workman-like may seem like a jab but it’s not. They’re a hard working band with a killer album to prove it. If you’re looking for melancholy delivered with a smile and a few power chords look no further than A Worthwhile Endeavour.
