Fresh from their Download debut, Dragged Under deal in an energetic brand of melodic rock that draws from a range of influences, but with a slant towards the more commercial end of the alternative and punk spectra, predominantly that area inhabited by the likes of Rise Against, Sum 41 and latter-day Offspring. Something of a rags-to-riches story, the band formed in 2019, releasing their debut independently in 2020. However, Mascot, who know a good thing when they hear it, stepped in to reissue the album, paving the way for sophomore effort Uptight Animals – an amped up album that comes bounding towards the listener with almost canine enthusiasm.
Opening with the blazing title track, Dragged Under pitch hardcore vocals against an energetic backdrop that veers from the riff-heavy verse to the hook-laden chorus and back, with no small amount of vigour. The production, which allows for crisp percussion, powerful vocals and harmonised lead runs, is suitably expansive and pitched firmly towards a desire for heavy airplay. No less engaging is All Of Us, a bruising track that emerges from a false start, before heading in the general direction of Rise Against and Sum 41, albeit without the latter’s Beavis-esque humour. Mixing in a touch of metallic fervour towards the conclusion, this is definitely music for the mosh pit and it’s no surprise that the band have a reputation for their explosive live shows. In contrast to the opening two numbers, which merely flirt with commerce, Never Enough is a full-on attempt at a chart botherer. Reminiscent of the generic teen punk that emerged around the time of American Pie, it’s catchy but predictable, making for a very safe listen, but you’ll almost certainly find yourself humming the damn thing later. Wrongfooting the listener once again, the slow, heavy riff of Crooked Halos gives way to an unexpectedly acoustic anthem, although the chorus remains suitably explosive. Packed with studio trickery, the anthemic Long Live The King recalls Amo-era Bring Me The Horizon, with nods to pop-craft and a chorus so meaty, it should come with a health warning. Once again, the lines between the band’s nominal genre of punk and a more commercial metal / metalcore sound blur here, as they do on Suffer, a mid-tempo track that throws sing-along-passages and a good deal of angst at the riffs to see what sticks. It also offers the album’s heaviest moment, as the title is screamed over and over as a cataclysmic riff plays underneath, although the hooky chorus is, unfortunately, never too far behind, robbing the track of some of its power in the process.
Opening the album’s second side, the acoustic-led See You Alive builds to a soaring climax, complete with hulking great riffs and sampled strings. Another unashamed bid for airplay, it conjures images of long fringes, pouring rain and an abundance of mascara. Fortunately, the scything riff of Weather avoids things descending too far in that direction, and we’re back into the realm of big choruses and even bigger hooks. The same can be said for No Place Like Home, with its swooning harmonies, nostalgia-evoking lyrics (“I keep the radio on mamma’s favourite station”)and “woah-oh” moments. A certain identity crisis is hinted at in the lyrics of Words For Hire, which is essentially a three-and-a-half minute manifesto set to a clattering, punkish soundtrack. Closer in feel to the opening pair of songs, you have to wonder what criticism stung the band into this ferocious response, although whatever it was that galvanised them, it served to produce the album’s best song. Featuring a guest spot from Spencer Chamberlain (Underoath), the stuttering Brainwash Broadcast is another solid track thanks to some seriously weighty riffing and throat-ripping vocals. It leaves the pandemic-referencing This Is The End to both see the album out and to address much of the insecurity people felt over the last two years. It is a fitting ending to the album, and the vocals deserve particular mention here, although the string-laden climax frankly feels a step too far.
It’s easy to imagine Upright Animals gaining an avid following, and it’s equally easy to imagine a number of the songs here finding their way into the world of film and/or computer games. However, herein also lies the album’s problem. As enjoyable as much of it is, the band too often play it safe, with the result that the album feels a touch one dimensional, for all the different genres wrapped into their sound. It’s a decent enough album overall, and the strong production cannot be denied, but Uptight Animals is almost certainly a touch too commercial for many readers of this site. Nevertheless, for those looking for a well-produced album that harks back to the punk-pop dominance of the early 00’s, Upright Animals will surely fit the bill. 6.5/10
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