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Oct. 16, 2000

Review - NME
November 1999

DriveSHAFT Review
by Vince Moseley
NME,November 1999

Dear reader, I hereby proclaim that it is your civic duty to make the upcoming millennium a better place to live. Think globally, act locally, they say. Well, you may start small: let the Nineties end in 1999. It's gone on long enough. Frankly, we were all tired of them back in year one.

DriveSHAFT, however? They seem to think the grunge-bedraggled Nineties are the greatest thing since Eddie Vedder sliced bread into letters and spelt out a political diatribe about how peanut butter oppresses jam. God save the marmalade.

The oh-so-quirky font of their name should be your first warning. Furthermore, we do realize the phallic potential of the guitar, but must it be recapitulated in one's name. Overkill? Nay, urge to kill.

Brothers Charlie and Liam Pace function as our Noel and Liam Gallagher for this tour of Why the Nineties Should Die. Indeed, DriveSHAFT plays the role of whinging kid brother to Oasis, waddling in the shadow of their Mancunian big brother and tugging insistently at bro's well-worn Mod shirt-tail. Only, DriveSHAFT could benefit from a dash of spite and malice between the Paces. Here we are now, entertain us. Please?

While every posh hipster in the Tube is humming the chorus of "Century," yet another ode to disenfranchised youth infused with self-pity (paging Mr. Stipe?), this reviewer will be holed up in a bomb shelter hoping the Y2K bug will blow up the music scene so we can start 2000 with a bang.

Whimperingly yours.
Vince Moseley