onearmscissor
03 Dec 2003, 03:21 PM
...and you will know us by the trail of dead
Source tags and codes
Imagine, if you will, a thrilling kidnapping that involved forced drug use. For example, let's say My Bloody Valentine kidnapped Fugazi, tied them to a chair and force fed them magic mushrooms all night. The result would be, along with a federal crime and very pissed off straight-edgers, the beautifully agressive third album from Austin, Texas's finest. If you don't know "Trail" (as we will call them throughout this article for obvious reasons), then you should. Immediately. They are four hard-partying, art-loving, stage-destroying punks from Austin who already have on brilliant work under their belts, 2000's thrilling "Madonna." Much like "Madonna," the new joint is an ecstatic mess of post-punk free-for-alls, heart-sinking psychadelica, and fine indie-rock tune writing.
The opening track starts with a string plucking build-up that climaxes, 10 seconds into the song mind you, with Armageddon guitars and a longing of when "we were bold and life was great." After the premature climax, which in most cases is embarrassing but is ultimately thrilling here, the song slowly burns again, only to result in gorgeous Kevin Shield's-style drug haze.
The theme of the opener is repeated often, and that's a good thing: Songs seemingly climax during the first ten seconds, then move in an entirely different, yet no less amazing direction, only to build up and explode once again. It's not easy on one's blood pressure, but definitely a treat for the ears.
However, not all the songs follow this pattern. "Hommage" is a straight-up blood boiler that will have your neighborhood, and your pre-conceived notions of intensity, destroyed thoroughly. "How Near, How Far" has a propulsively galloping bass line that supremely compliments the nail-gun drumming of Jason Reese, and "Relative Ways" is simply a perfect rock song in which lead-singer Conrad Keely screams, "its OK, I forgave your mistakes," even though the emotional drama of the music suggests its not OK.
Well, this album is more than OK. It's the album Sonic Youth could have made if they had been visceral, street-fighting punks instead of pretentious art snobs. In short, obtain this album by any means necessary.
Jeff Goss
(Taken from http://www.thievesliveamongus.com/goosenest.html)
Source tags and codes
Imagine, if you will, a thrilling kidnapping that involved forced drug use. For example, let's say My Bloody Valentine kidnapped Fugazi, tied them to a chair and force fed them magic mushrooms all night. The result would be, along with a federal crime and very pissed off straight-edgers, the beautifully agressive third album from Austin, Texas's finest. If you don't know "Trail" (as we will call them throughout this article for obvious reasons), then you should. Immediately. They are four hard-partying, art-loving, stage-destroying punks from Austin who already have on brilliant work under their belts, 2000's thrilling "Madonna." Much like "Madonna," the new joint is an ecstatic mess of post-punk free-for-alls, heart-sinking psychadelica, and fine indie-rock tune writing.
The opening track starts with a string plucking build-up that climaxes, 10 seconds into the song mind you, with Armageddon guitars and a longing of when "we were bold and life was great." After the premature climax, which in most cases is embarrassing but is ultimately thrilling here, the song slowly burns again, only to result in gorgeous Kevin Shield's-style drug haze.
The theme of the opener is repeated often, and that's a good thing: Songs seemingly climax during the first ten seconds, then move in an entirely different, yet no less amazing direction, only to build up and explode once again. It's not easy on one's blood pressure, but definitely a treat for the ears.
However, not all the songs follow this pattern. "Hommage" is a straight-up blood boiler that will have your neighborhood, and your pre-conceived notions of intensity, destroyed thoroughly. "How Near, How Far" has a propulsively galloping bass line that supremely compliments the nail-gun drumming of Jason Reese, and "Relative Ways" is simply a perfect rock song in which lead-singer Conrad Keely screams, "its OK, I forgave your mistakes," even though the emotional drama of the music suggests its not OK.
Well, this album is more than OK. It's the album Sonic Youth could have made if they had been visceral, street-fighting punks instead of pretentious art snobs. In short, obtain this album by any means necessary.
Jeff Goss
(Taken from http://www.thievesliveamongus.com/goosenest.html)