DRYLINE – Reach For The Surface

The use of labels in music is a two-sided coin. The first and good side is for describing the music and finding the origins of it in terms of artistic influences; the second side is for categorizing the bands under banners, often causing arguments and conflicts among the Metal community and eventually losing the meaning of playing and listening to music.

The situation described above could be the case for the album Reach for the Surface, which is the debut release of the fivesome band from Texas, named Dryline. Since the Metalcore sound has flooded the American Metal scene, Dryline’s release could be considered as one of them in the pile, thus causing one to underestimate the band’s work.

The band was formed in 1999 and picked up the pace from the local Texas scene to places further like Nebraska, Missouri, and Kansas. In between, landing notable opening slots for national acts that have included Misery Signals, It Dies Today, Killswitch Engage, and Hopesfall. Their live performances quickly drew the attention of Zero-Sum Recordings, who offered them a record deal, consequently leading to the current release of Reach For The Surface. Responsible for the album’s powerful sound is D. Braxton Henry, who also produced Jacknife’s debut release Moment Of Reckoning.

“Last Day to Forget” opens the album with a fast riff and drums with some ear-bleeding Death growls. The band uses a twin-guitar pattern that adds a melodic touch in the overall Thrash meets Death Metal sound.

Some clean vocals can be found during the catchy chorus in “Cast For Your Heart,” creating some really enjoyable sound diversity. There is a constant movement between Metalcore and Melodic Death Metal that helps the band create a more “personal” sound.

Things get better in the fast-guitar-driven “Choke on the Air,” where the sound production really shines, perfectly balancing power and melody. “First and Ten” reveals some influences from the band The Haunted, with a fast and heavy rhythm section, along with the angry vocal performance.

The melodic change somewhere in the middle of “Screaming Because He’s On Fire” affirms the band’s intentions to create a unique sound far from the classic Metalcore (sometimes boring) scene.

Some credit should be given to the drum work that really solidifies the sound with fast breaks and changes, paying beseeming honors to Slayer’s sound. “Breathing Water” stays within the composing parameters described above, while the instrumental “Needless To Say” is a short break, comprising some nicely put clean guitar tunes and arpeggios. The drum blasts on “Touch For Sore Hands” bring the aggression back, with a neck-snapping rhythm and some Hardcore elements.

The album continues in the same music pattern for the next four songs “We Have Until Tomorrow,” “Lipstick Scratches, Paper Rocks,” “Upon This Blade,” and “In An Age of Heroes,” causing the feeling of “heard that before” to sneak in.

Well, you just cannot have it all, but on the other hand, this is just Dryline’s debut release, and everyone can be sure that good things are yet to come, since there is promising composing potential here waiting to be fully deployed. In the meantime, be sure to check them out because the band is currently in the touring mode.