The War on Drugs were born with a sound. When Adam Granduciel’s Philly-bred concern released Wagonwheel Blues in 2008, they were already singular. There were familiar signifiers–woo-hoo-hoos stolen from Born in the USA-era Springsteen, Granduciel’s pinched vocals and turnaround chord progressions nicked from Dylan via Tom Petty–but they were specks in a maelstrom of searing synth patches and controlled feedback, with a tick-tack rhythm doing its damnedest to pin it all together. By the time of 2011’s become a member or log in.
