The life of an artist is not for the feint-of-heart. Having to juggle a wearisome day-job, maintaining some semblance of healthy relationships, only to struggle with a few daily hours of quality "creative" time AND soul-crippling self doubt will sour the sweetest of dreams. When said artist just happens to be a woman, well, let's just say that things can get a little complicated. In the music industry and, in particular, the guitar-oriented genres, the road to "equality" has always been fraught with potential landmines. Women in Rock have been customarily viewed with studious skepticism…if they're not eye candy, they're usually dismissed as some novelty act. Couple this with some of our countrymen's "traditional" patriarchal viewpoints (an absurd notion in a society that has elected TWO female presidents) and what you get is a recipe for disaster. In its six years of existence, Nancy Drool has seen it all. Catcalls. Chauvinist taunts defended as "good clean fun." The occasional moron attempting to look up their skirts. Even the ignominy of being called…yikes…"Avril!" But rather than assailing the crowd with a feminist harangue, the band remains unflinchingly stoic. Because, when all is said and done, there is a vast gulf between sweating it out in the moshpit and standing on that stage.

Formed in October 1999 after a U.P. Poetry Club meeting, the group cut its teeth by outwardly rejecting the "cover band" beginnings most neophyte musicians choose to endure. Alternately adopting their moniker as an homage to the fictional girl detective or those Garbage Pail Kids trading cards, Nancy Drool has always been rooted in the almost-obsessive quest for originality. The band's early repertoire was composed of alternative pop tunes heavily laced with a smattering of punk rock attitude. Over the years, they have painstakingly crafted their own distinct "sound," taking on a decidedly "indie" sensibility with melodic, hook -laden and relatively aggressive songs that shied away from your typical radio-fare.

Nancy Drool's live performances are rife with complexities: they are raw yet artful…cute yet confrontational. Inspired by such diverse acts like Belly, Moonpools & Caterpillars, The Smashing Pumpkins, The Beatles, Elastica and even Sarah McLachlan, devoted music-geeks may also detect the indie-pop of The Gin Blossoms, the noise rock of The White Stripes and the unhinged looseness of pre-makeover Hole. On the local front, they confess to admiring Cynthia Alexander, Sugar Hiccup, Sugarfree and, of course, The Eraserheads. Asked to describe their eclectic sound, lead guitarist Myla Orogo suggests "Mazzy Starr making out with Billy Corgan." Drummer Julius Sanvictores cheekily adds that it's "kinda like space robots fighting angry chickens." Like I said, the Nancy Drool experience is unique.

Perhaps the most glaring insight into why these songs are so hard to pin down can be found in the particular elements each band member brings into the fold. Sanvictores, the lone male in this crew, cherishes the rattling improvisation of Raimund Marasigan, the deliberateness of Primus' Tim "Herb" Alexander and the precision of Rush's Neil Pearth. Additionally, his drum work is informed by the jazz records his family was keen on. In stark contrast, bassist Jaja Pelayo offers a decidedly non-technical approach to her counterpoint. Taking a hint from garage-rockers The Strokes and Interpol, her thumping lines are never too much or too little. Backing vocalist and guitarist Mutya Bose spikes this concoction with a dirtier edge. Like Courtney Love, proficiency and tunemanship are secondary concerns when it comes to "feeling" the song. It's not so much about "playing" as it is "vamping." Lead guitarist Myla Orogo's wildcard style reminds you of John Frusciante's quirky licks and unpredictable solos. A self-confessed fan of early Grunge, you may be surprised to learn that she also loves the "telecaster twang" of Richie Kotzen. Lead songwriter and vocalist Haya Santiago adds a soulful punch to this intoxicating mish-mash. On any given night, she channels the likes of Joni Mitchell, Grace Slick, Janis Joplin, Tori Amos and Natalie Merchant. Her rhythm work has a distinctly Lennon-esque flair, a heart-wrenching reminder of the legendary Ely Buendia's earlier (and, in my opinion, most effective) efforts.

Explaining the songwriting method, Santiago easily admits that the tunes are based heavily on personal experiences. "I pull the raw material from the rawness of life itself." Which doesn't necessarily point to a penchant for Kurt Cobain's doom and gloom masterpieces. On the contrary, Nancy Drool's songs are to music what Sylvia Plath's work was to poetry: an honest reaction to the outside world. Never self-pitying. Never self-congratulatory. And never self-aggrandizing. By exploring the personal, the music manages to touch upon the universal. A recurring theme is, in fact, love…and all the emotional baggage that usually ensues. And despite the genealogical pedigree that some of the band members just happen to be blessed with, there are no overt political themes within their lyrics. There are no thoughts of hidden agendas or covert didacticism. They write what they feel. It's as simple as that.

Currently in the process of negotiating an album deal, Nancy Drool has previously recorded a homemade E.P. of thirteen original songs. And from what I hear (pardon the double-entendre), it is only a matter of time before the floodgates are opened. To success. To failure. To glowing reviews. To biting criticism. To fans. To rivals. Straight and gay. Radical and conservative. Man and woman. In the long run, these are transitory concerns grounded in perception rather than truth. We find truth through the process of creation. Some gifted few will actually come up with something coherent in the process. This is called "quality." And Nancy Drool has it in spades. In their own words: "It all boils down to music at the end of the day."

-C.C.-

contact: nancydrool@gmail.com