TRACK REVIEW: CLT DRP’s ‘Where the Boys Are’ rubs Fin HB exactly the right way

Editor’s note: I usually write the titles, but this one was all Fin. He insisted. Begged, even. Please enjoy his article:


According to a 2013 study by Indiana University, 44% of men can’t find the clitoris. Hopefully that won’t stop them finding CLT DRP’s (pronounced Clit Drip) new single Where the Boys Are, the most exciting song I’ve heard all year.

Electro-punk has never made sense to me. Bands were either way too electro and getting very slightly angry behind big synth waves, or way too thrash-punk for my tastes with a synth maybe looked at. CLT DRP make this genre actually make sense. Slicer-style riffs dominate the mid-range and sound overwhelmingly synthesised, but it’s all guitar trickery. In contrast, the drums are purely acoustic, not reliant on over-dramatic drum machine breakbeats that are all too common. The end result is a heavy and immediate wall of noise.

I should say that CLT DRP aren’t there to rip your face off from the offset. The intro is based upon a pretty stripped-back beat and harmonic guitar riffs, while singer Annie Dorret laments the suppression of women speaking out in the music industry, with a vocal dripping with spacey modulated delay.

But then it builds.

The slicer riff starts to cut in over some melodic arpeggiated not-quite-strumming and then it climaxes and all of a sudden we’re destroying the patriarchy.

Lyrically, it’s all feminist punk. Titular line ‘I wanna be where the boys are/I fucking earned it’ is as relevant now as ever, I the wake of Reading and Leeds unveiling an overwhelmingly male line-up for 2020, as though there aren’t these incredible bands with people that happen to not have a dick or identify as male. Good point well made. The attitude with which lines are delivered absolutely makes it. Dorret sounds assertive and powerful, sneering through most of the track, fitting the tone perfectly. More interesting is her occasional veer into sarcastically hysterical. The repeating line starts ‘he just taught me’ sounds derisive and mocking with this tone, while seemingly playing on the ‘hysterical feminist’ stereotype. I love it.

CLT DRP are undoubtedly out to take back the power, and not just from festival bookers incapable of booking based on talent. While reclaiming their sexuality in lines like ‘I like him better when he’s down on his knees’, shots are fired at second-wave feminism’s perceived attacks on women choosing to willingly appear sexual, as well as that movement’s trans-exclusive and anti sex work stance. It feels powerful, and that’s before you hear it.


CLT DRP’s debut album, Without the Eyes, comes out on 15th May. Pre-order it here, and not through iTunes unless you want to give apple loads of cash and screw over the people who actually make the music:

Even better, go to a gig and buy stuff direct. CLT DRP will play at an as-yet unannounced London venue of 6th June.

This author is a pretty useless feminist and historian and may not have accurately portrayed the views of various historical movements, based upon comments from the band in interviews and some research online. They are, however, very open to learning more and being corrected.

– Fin H.B. (Author)


Featured Image by Dainis Graveris.

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