When a band invoke the spirit of Zappa, King Crimson and Periphery in their press release, you have to take notice. As a combination, it’s so wildly incongruous, that you have to conclude that DRH are either mind-bendingly awesome or toe-curlingly bad. Fortunately, the French-based four-piece fall into the former category, their progressive, jazz-infused metal a truly refreshing experience that requires an open mind, but which rewards such curiosity with rich dividends indeed. A six-track effort, thin ice, features four studio-based tracks recorded at La Station Mir by Robin Winckler and Frederic Roux as well as two live sessions from Le Jack Jack, recorded by Mickael Maudet (who also mastered the release).
Opening with The rift, a track that sets out the band’s unique stall with rippling guitar and squealing sax (the latter courtesy of Remi Matrat), the closest band in the modern rock sphere is probably Poland’s Armia or David Bowie on his Blackstar swansong. What sets the band apart, however, is the sheer gritty weight of Danilo Rodriguez’s guitars and the increasingly brutal drumming of the exceptional Josselin Hazard. However, just as you think the band are heading down a metallic cul-de-sac, they spin round to head off in a Mancini direction, all nimble guitar, funky bass (Alexandre Phalippon) and lascivious sax. Amazingly coherent, given the multiple genres the band traipse across, the rift is pretty much the perfect introduction to the band and it is done no end of favours by the warm, rich production with which it has been imbued by WInckler and Roux. Next up is a nimble, tense piece entitled Fooled. Eastern progressions add an air of the exotic to the piece, with the warm scent of spice borne on the warm undercurrent of the guitar. As things get heavier, so the rhythm section become increasingly agitated, the drums once more driving the track to a climactic peak so stunning, it’ll leave you breathless at the sheer seething virtuosity of it all. In contrast, Thin ice slows the pace and takes us back into pure jazz territory, Remi driving his sax well beyond the sensible limitations of the instrument. Beautifully played, the band provide a sympathetic backdrop to Remi’s increasingly wild excursions, and the results are mesmerising. When the track finally does explode (into a frantic, Dog Fashion Disco-esque blast of metal-influenced psychosis), it’s only as a gateway to the band’s next sonic plateau – DRH steadfastly refusing to adhere to any musical convention, allowing the music to lead them into hitherto unexplored areas. The final studio track, the path, opens with a lovely melody courtesy of Danilo, the rest of the band holding back to allow a moment of simple, calm beauty to emerge before things once more take a turn to the metallic. It’s another example of the fluid dynamics the band command and each member of the band proves themselves to be exemplary in their field. It brings the studio portion of the release to a hugely satisfying close.
Away from the more controlled environment of the studio, DRH are even more expressive and tracks are allowed to expand as the situation dictates. First up, the short Black chewing gum sparkles and blazes with barely controlled fire as the band deliver a piece that wouldn’t sound out of place in a Fantomas set. Impressively, the quality of the recording sits only marginally beneath that of the studio work, the band rendered in impressive clarity, although the guitars, perhaps, lack studio-weight. However, as a finale, the Smoking bluffer provides the ultimate expression of the band’s broad palette. A huge, jazz-odyssey with metallic fire and progressive instincts, it is a thrilling, spell-binding finale and the perfect end to the album… or, at least, almost the end, as a bizarre, a cappella secret track pops up, unexpectedly, a few moments after the actual song has ended just to mess with your head one last time!
Whilst it is fair to say that DRH’s expansive musical excursions will not be for everyone, for those who enjoy artists who genuinely push boundaries, DRH have turned in a beautiful performance that combines the fire and fury of metal, the exceptional musicianship and spontaneity of jazz and the elegance of progressive to create something that is quite unlike anything else out there. When you factor in the stunning packaging (Remi Hurel) and the crystal clear production, you have a record that borders on the essential. One of the records of the year, without a doubt, Thin Ice is an expressive, beautifully-played masterpiece with endless replay value. 9
