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The Drexlers:
Social Honey
Social Honey is the debut release of Georgia outfit, The Drexlers, a group you might mistake for Sixpence None the Richer or The Corrs for that matter, tending a rich, organic sound with the lovely, romantic lead vocals of singer, Annie Drexler. While uneven, the album delivers rewarding moments and promises of things to come. Among the few songs here written with an eye for the radio, Surround and Birds Eye View could both feasibly be played on Top 40 if given the proper push, with the former destined for WB teen drama stardom, if only given the chance. However, its Glass Head, that is the albums most-realized song, and best indication of what the band can do right now. The worldly percussion beats and playful bass lines give the song a bouncy and carefree feel, with each part complimenting the other. Theres also some clever production work within the song (note the flute-like guitar floating over the verses and Drexlers echoey call of Even preceding the songs fourth linevery cool). Other highlights include the Mazzy Star-like guitar feedback of Alien Corn and the melancholic flute lines of Mary V, both adding the necessary tone shifts and emotional variety the album needs. Sacred Grounds is also a strong offering, with the band unleashing a Dido-esque chorus that is one the most endearing moments on the album. That said, the album tends to lull a bit, with little sense of pace or direction. I can only liken it to watching a person swaying back and forth with his eyes closed thinking of the beautiful music in his head. You sort of want to kick that person after awhile. The melodies, while pleasant (the whole album exudes pleasantness for that matter), seem to meander without purpose. Theres nothing here thats truly striking, like Sarah McLachlans Possession, or genuinely moving, like 10,000 Maniacs These Are the Days. The lyrics, while pretty, tend to be uneven and coffeehouse poetic. At her best (Mimis Song), Drexlers quite an adequate lyricist, but more often than not, her metaphor and adjective choices come off forced or even awkward (taboo hair anyone?). Sometimes, you know what shes going for but shes not quite hitting the mark. In all fairness, its only when you read into the lyrics that you see what Im saying, as phonetically it all sounds fine. Social Honey is far from being a bad record, but its not quite an exceptional one either. This is the kind of record you hear at summer parties, I think not terribly offensive and doesnt stand out too much, but might actually catch a few people off-guard. Its barbecue music for the NPR crowd. (Hey, this is what people used to say about Sarah McLachlan.) Im just waiting for them to write a song that really strikes a nerve. Sacred Grounds is a good start.
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