The Last Drive "Heavy Liquid" 2009****

It would be impossible to overstate Last Drive's importance in the Greek Alternative Rock scene. When they appeared in the 80's, Greek rock was quite marginalized. It had started well enough in the mid 60's with a few garage-pop groups, but its progress was cut short in the spring of 1967 by the military coup. The summer of '67 may have been the "Summer of Love" elsewhere, but not in Greece. Despite being U.S. puppets, the junta saw long-haired rockers as a threat to (their idea of) our proud national heritage. Rock was exiled from radio and only those within the radius of the American Armed Forces station would get to listen to e.g. Jimi Hendrix or Led Zeppelin. The return of democracy in '74 didn't immediately change things, as both  the Left and the Right rejected Rock (the former viewing it as a product capitalist decadence and the latter as an anti-establishment attack on traditional values). Bands, mostly playing in blues/classic rock style and singing in Greek, did emerge and had a (limited) appeal. But Last Drive were the first of a new underground rock scene with a contemporary sound and an international scope. While other rockers tried to adjust rock to Greek reality, L.D. acted as if our country was in the heart of Europe instead of its periphery, adopted English as their language and became players in the wider neo-psychedelic/garage scene (supporting and touring with the likes of The Cramps, Fuzztones, Dream Syndicate etc). With their fiery live shows and rock'n'roll attitude they pretty soon dominated the small Athenian rock scene and even had a respectable presence abroad, releasing records and touring internationally. For rockers of my generation, they had come to personify the whole scene. By the 90's they had drifted toward a grungier, heavier guitar sound that estranged older fans and when they finally broke up in 1994 it seemed like they were already a spent creative force. As the internet made music more readily available, Greece's Alternative Rock scene grew steadily but without a leader. Where 80's rockers had seriously tried to compete with the Clash, Cure or Joy Division, the new indie generation had smaller ambitions, often playing a kind of smart but twee pop. L.D. guitarist George Karanikolas recorded with a psychedelic/grunge band called Blackmail but was absent from the live circuit, occupied with managing his comic book store. Bassist Alex K joined an acoustic band called Earthbound, playing Calexico-style Americana - on their debut they even cover Cuban legends Buena Vista Social Club. They were good, but their low-key shows were a far cry from the Drive's fuzz-drenched garage rock. It seemed like the Last Drive were consigned to the past, a story the older of us would tell about the dawn of Greece's Alternative rock scene - of legendary bands and legendary clubs now extinct. A (one-off, initially) reunion gig changed all that: it was a huge success, with the Drive's musicianship and supreme confidence on stage making quite an impression on younger music lovers and creating a new generation of fans as well as rekindling older fans' interest. More concerts were added and, after a 15-year hiatus, an album of new material called Heavy Liquid appeared. It was very well received in the local music press and compared favorably with their classic releases. It picks up where they had left it off: high octane garage punk with the emphasis on the fast and fuzzy guitar sound. But the influence of Earthbound is also felt: bits of blues, country and desert rock crop up on the slower songs, creating a mystical voodoo americana soundscape in sync with the aesthetic of the album cover, designed by a Greek comic book artist. “A Glass of Broken Dreams” opens the CD with a psychedelic guitar intro but soon gets hijacked by the fantastic fuzz bass. Everything fits perfectly: the dirty guitar riff, oriental licks and catchy chorus - Alex and George trade lead vocals efficiently: they don't duet, they complete each other's phrases. “Magdalene” is a melodic garage rocker with intricate solos and an almost perfect chorus. “Headlong to the Edge” is a trippy, slow song with a stoner/desert rock feel and "Hang The Bone" points to a boogie/blues direction. The next 3 tracks are more familiar LD material: The rolling psychobilly of "Mountains" wouldn't be out of place in their debut and "Get Off My World" is a driving garage/surf rocker, complete with handclaps and vocal harmonies. "Pantherman" is yet another typical LD garage/surf punk song, which they fittingly dedicate to The Cramps' Lux Interior. "Hole In The Wall" sports a Southern blues/country sound and "Maureen" plays with the contrasts between its stout funky beat and surprisingly dreamy softly sung chorus. The atmospheric "Goldfish" may well be the closest they've ever came to a ballad and "Jack Of The Highway" alternates between acoustic folk and metallic stoner rock. The acoustic guitar in the quiet parts is one of the album's highlights. The CD closes with a 9 minute version of J. B. Lenoir's classic "Alabama Blues", performed in true Cream/Hendrix fashion. The howling harmonica is another nice touch in what is probably Last Drive's most varied and consistently good collection. Very few other bands have managed to mature without losing their original energy and evolve while retaining their distinctive characteristics. I hope their next release is a worthy successor to Heavy Liquid, just as it was a worthy successor to their classic albums - even if it takes them another 15 years...

**** for A Glass Of Broken Dreams, Magdalene, Get Off My World, Pantherman, Goldfish  

*** for Headlong To The Edge, Hang The Bone, Mountains, Hole In The Wall, Maureen, Jack Of The Highway, Alabama Blues