Jeroan Drive
The Stones Remain in Silence (2007)
Brian Shultz
I really think it's important to keep "screamo" distinct from "nü-screamo." See, I'm pretty sure bands like Alesana have never heard of or fail to give a shit about bands like Clikatat Ikatowi, and vice versa. The weird thing is that Norway's Jeroan Drive straddle a line that actually finds a place between these misunderstood styles, though thankfully closer to the more classic side.
The Stones Remain in Silence is a long and ambitious record that seems to only find mild success. Jeroan Drive take clear nods from their nation's predecessors, JR Ewing, as well as a band from a neighboring country -- Refused, though they seem to claim Drive Like Jehu and Swing Kids as their biggest influences. Jeroan Drive play with jagged post-hardcore structures, strained yelps and creepily sung vocals and the occasional hard rock vibe. On standout "The Escape," melodic driving guitars clash with searing layers of keyboard and catchy shouting, wrapping up Jeroan Drive's traits into one tidy, enjoyable and sort of accessible package. "Heart. My. Get. On." works with a largely acoustic introduction and then a screaming, somewhat overwrought finish. Melancholic female singing is even used for the title track to curious effect; while it comes off a bit like Evanescence or one of From Autumn to Ashes' female-fronted moments, it's not too bad. The album isn't the most secure and efficient result possible when influenced by those aforementioned bands, but Jeroan Drive do an admirable and creative job of it, complete with verse/chorus abandonment.
Apparently this album was recorded way back in October 2005, so one would think the band has expanded on their ideas with the current songs they're currently wittling away at. If so, it should be a much more focused and rigorous version of a style that nonetheless has a pretty solid foundation on The Stones Remain in Silence.