As the story goes, in the early years of the 1990s, the buzz on Drop Nineteens began with two demo sessions that landed them gigs, ink in the U.K. press and, ultimately, a record deal with Caroline. The songs on the demo, though, weren’t what made it onto the band’s debut album, Delaware. In fact they hadn’t been officially released until now. Called 1991, the remastered collection of songs recorded mostly in a dorm room on an 8-track reel-to-reel is out now via Wharf Cat Records.
After listening to the new-old album, I have to say that what I recall hearing about Drop Nineteens makes a lot more sense. (For the full history, I highly recommend reading this Boston Hassle interview with the band from a few years back.) I was vaguely familiar with Drop Nineteens when they were around, although I can’t remember how. It was probably some combination of Request Video, 120 Minutes, Sassy Magazine and The Adventures of Pete & Pete. I didn’t really sit down to listen to Drop Nineteens, though, until I was in college, at the end of the ‘90s, when Delaware was still name-dropped often in indie rock circles. People would call in and request the band on KXLU, where I was a DJ, like they would with Slint and Galaxie 500 and Spacemen 3 and loads of other groups that virtually no one outside of the college radio listenership knew.
That said, I basically thought of Drop Nineteens as an indie band, but not really aligned with a super-specific scene or genre and it was a little strange when, in more recent years, I kept hearing their name in association with shoegaze. I’ve even re-listened to Delaware and could really only hear that tag in a couple songs, like their cover “Angel,” which is quite the departure from Madonna’s original.
Then I heard 1991. The ‘gaze is intense here, dear reader. You can hear the lineage of Velvet Underground to The Cure and Siouxsie and the Banshees to Jesus and Mary Chain to My Bloody Valentine throughout all nine songs. If you’re even remotely into shoegaze, 1991 is essential.
“Mayfield” and “Snowbird” have a post-goth edge with big drums, plus a wash of guitars and vocals that somewhat recall Garlands-era Cocteau Twins. Meanwhile, “Shannon Waves” is an instrumental that essentially announces the dawn of the ‘90s with its Madchester rhythm. “Kissing the Sea” reflects its name, with guitars calmly rippling across the song and shimmering vocals singing “free to be you and me” (like the Marlo Thomas project?). Further along, “Song for JJ” has a killer psychedelic outro and “Soapland” is a grand finale for the album with drumming reminiscent of Budgie (Siouxie and the Banshees, The Creatures) and layered vocals that are truly ethereal.
Honestly, I can hear how this would not have been an ideal debut album for a band active at the same time Nirvana broke and corporate media decided “grunge” was a thing. However, I am surprised that it took more than 30 years for these songs to get a proper release because this is a stellar collection with appeal beyond Drop Nineteen’s own fanbase. Really, anyone who has ever swooned over the classic 4AD and Creation bands or is currently digging new school shoegaze should check out 1991 as soon as possible.
And, while you’re at it, go listen to Drop Nineteen’s 2023 album, Hard Light, as well. It’s fantastic.
Liz O. is an L.A.-based writer and DJ. Read her recently published work and check out her upcoming gigs or listen to the latest Beatique Mix. Follow on Instagram for more updates.
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