We Are In Ashton Irwin’s ‘Glory Days’ With Full Album Release Of ‘Blood On The Drums’

Ashton Irwin's 'Blood On The Drums', is an incredible two-part album that is a delight to listen to. Moving away from the indie sound of 'Superbloom', we are getting plugged into a 180 transformation from his previous project into this newer one. 

Every moment of this album, similar to the last one, has been carefully picked and crafted; however, the difference between this release is the progression of musicianship and songwriting. 

He's showing the world that he has a much wider range and depth in his new projects, and there's more than what's under the ride cymbal. 

The album's first half pulsates with sounds pulled from drum and bass, and alternative indie-rock. You wanted to hear more of an experimental Irwin, and you are getting exactly that. It's breaking out of the box of what anyone would've expected from him. 'Breakup', the second song on the album, is swirling with a dirty drum beat and siren-like vocal arrangements that pull you in and get slowly convinced to follow his orders. "Breakup right now, you should be with me now", enticing and magical lyrics being swarmed and powered by his drumming makes it hypnotic. 

'Blood On The Drums' is a framework of who Irwin is. The drums are who he is, but he is more than just a drummer. But, also, who would he be without the instrument that has brought him so much life, passion, sweat, tears, dare we say, blood from playing too hard? It's a big and monstrous track that allows Irwin to show his production mindset regarding his solo projects. Not only does this song fully represent him and his over 10-year career in his main band, 5 Seconds of Summer, but it also shows his unique favouring of vocal distortions that create another type of drumming layering mixed with acoustic strumming that is met with feverish beats as he paints how this one instrument has opened himself to a new lifestyle and version of himself. 

In our opinion, there's something that is attractive in a piece of work like this album when you can tell just by listening that the musician who made it had a lot of fun making it breathe the way it does. It's woven in, and that's what makes it an enjoyable alternative album. Moments during tracks like 'I See Angels' and 'Rebel At Heart' are so funky and gritty that they give the album's first half an additional beat of life. The latter has one of our favourite vocal moments of Irwin when he sings on repeat, "Do you know who you are? / Comin' out of the dark / Do you know who you are? / You're a rebel at heart", the layering, the reverb, the stripped backed push and pull with the instrumentals, and the ad-libbing over the last chorus give us a proper chance to admire Irwin's vocal talent. There is no masking how multi-disciplinary he is. 

The second half of the album, starting with 'Canyon', has an impressive psychedelic rock twist towards the end; when you think it's over, he adds this gorgeous wavey oasis. Overall, in the latter half, we enter into another phase of Irwin. In the latter half, there's rock, country, western, and a dash of Spanish influences in the musical styling that surprised us in the best way possible; the storytelling changed to be a bit slower paced, intimate, and intentionally focused on peeling away fears, hesitation, and overcoming past blockages to be more present. 

'California Holds Her Breath' is the most beautiful song on the album. We know that Irwin released the collection of 'Blood On The Drums' as two separate albums, and out of the two releases, this is the delicate, vulnerable moment where it's only Irwin and a guitar. It's truly stripped, bare, and raw. A gentle swaying tune, a bit of a sad cowboy melody about pulling apart the mask someone wears that is in the way of discovering who they are behind what they are hiding underneath. "I can see your hide reflecting on the disco ball" and the repeating "California holds her breath tonight" beckoning to be who you really are and make time slow down to create a ripple in a moment where the listener can be fully seen or realise that people see through you and the mask you wear. 'Little Spark' and 'Wicked Habit' are about the highs you get when you are in love with another. The rise of oxytocin and serotonin and how you'd give all your money away, do anything to feel that warming joy and melt into bed with the one giving this type of addiction. 

'Marry You' alongside 'California Holds Her Breath' will be a fan favourite. A tango-ey 2/4 time rhythm plays out, creating a heavy-lidded, low-lit, seductive, hypnotising flavour. This is the real sultry song on the album. Irwin is on his knees, longing and actively pursuing his lover of interest. You're meant to dance to this track just like how Irwin is dancing around his mind to make sense of the situation as to how he is in a trance, "I can't control the things I say / I'm sounding crazy". 

Ashton Irwin has done impeccable work on this album. There are so many remarkable cross-genre drum influences fusing together to craft a sound that is uniquely his own, in which he is holding his own as a solo artist. It's a beautiful, timeless album and just a snippet of Irwin's incredible career thus far, and we're soaking it up and celebrating it track by track. 

Tyra Baker

@got_tyra

Image: ‘Blood On The Drums’ Official Album Cover