Scott Weinrich, aka Wino, has quite the discography over the last 35 years of heavy music. He's been in more bands than need to be listed here, but some of the bigger ones range from early doom metal band Saint Vitus
to more recent work with supergroup Shrinebuilder. In addition to work with those bands and his own solo work, he's contributed to various other projects, such as lending guitar and vocals to Dave Grohl's Probot and guitar to Clutch
Arguably, none of these have much to do with what appears on Adrift, which is nearly an all-acoustic affair and definitely much more stripped back than anything I would associate with most of his previous acts. For the most part, the songs are acoustic guitar and vocals. If it weren't for the occasional overdubs, it could almost come off as a chill, recording on the back porch kind of thing. Some of the ad-libs or extra recordings that aren't deleted lend to this vibe, such as including the comment, "It's a little bit hot," as he launches into "Hold On Love." Otherwise, the reference I keep coming back to is an acoustic, Powertrip-era Monster Magnet
, except with the occasional classic metal influences on songs like "Iron Horse / Born To Lose."
The all-acoustic nature is broken up here and there, primarily by a little bit of electric solo work. "I Don't Care" is an attitude-drenched blues-based number that brings in an overdriven solo around the middle of the track, and the electric continues throughout afterward for call and response with the vocals. "Mala Suerte" adds a bit of a fuzzy rhythm guitar for texture and some of the solo, although it really is just texture and the main rhythm and guitar melody remain on the acoustic. "Suzanne's Song," which is instrumental except for a mumbled "cool" as the track fades, is the only one to introduce bass. "O.B.E." is the least acoustic song, as it were, another instrumental number consisting mostly of feedback and other manipulated electric guitar sounds. And, to go out on a high-energy note, closer "Green Speed" matches the faster acoustic riff with speedy solos trading stereo channels, and also stands out as the only track with a drum (yes
, just one).
While this is all well and good, the songs that mix it up with extra textures actually serve to highlight how samey the rest of the tracks can sound. They're all good tracks individually, well-written and well-performed, and some of them are real standouts. Unfortunately, even over just 12 songs and 41 minutes, they sometimes leave you wanting more diversity. So it's good, but not great. Maybe get all of the songs and mix them into a playlist to help break it up a bit, and you'll appreciate all of it a lot more.