Much better as a vlog, but there is also a portal to Podcast without video!
I recorded a vlog instead of (also: as well as) my usual Podcast. So, if you were ever curious about what I looked like, your welcome.
Yes, I messed up the first time and uploaded the raw file. Yes, I did spend the next four hours fixing that mistake. So, if you watched the original, that is the better one.
I did a review of one of my favourite independent albums! I want to make this a regular thing, so let me know if you have an album or piece of art available copyright free!
The first live show I ever saw was Farewell to Freeway opening for The Reason. There were other bands, they were also very good, but those two stood out. Not just because they were the headliners, but also because. well, the formed a basis for my taste in music for the early 2000’s.
To be clear, and to flex my independent music knowledge because I’m a pretentious prick, I realize that Farewell to Freeway was initially Sewing With Nancy, and they changed their sound dramaticallly from almost a skate-punk sound to emo in 2000. Hell, Like Home was my introduction to the band roughly two nights before I saw them.
Again, I feel that it must be stated how amazing the whole lineup for the night was. Those two bands stick out for me because I really had no referance for heavier music. The absolute heaviest that I got at that time was Tool’s Lateralus album. If you know that album, saying that it’s not metal is rediculous, but seeing it as heavy is laughable.
If memory serves, Farewell to Freeway (hereby refered to as F2F) started their set with songs from the Between Yesterday and Today album. Still a rather emo-tastic album, but they perfected the sound from that point on.
I was in bliss. They went from being a really solid local-ish band to being something amazing to me. They closed their set with the title track from their, at that time, upcoming album (song here). I am not too man enough to admit that I cried, I thought it so beautiful. Even though I was silly and considered it metal (oh, baby me…), I didn’t dare mosh for fear that I would miss a note.
So, yes, I was floored. The Reason topped off a fantastic night. Ironically, that was the last time they were heavy (that I saw on stage) before they made the jump to a more mainstream sound three years later. (The Reason Meta-ish)(The Reason Pop feat. Sara Quin from Tegan & Sara fame)
Anyway, the reason I write about this album (aside from how instrumental it was in my taste in music) is: even though music has evolved and “improved” since this simple eight track album came out, I still return to it with great anticipation for everything to be okay for the 27 minutes that it takes to make this beautiful journey. If you are a fan of 2000’s emo or anything in the punk world from that time, I am very sure that you will love this piece of 519 history.
This is a video from 14 years ago! LOOK AT HOW SKINNY I AM!!!!
I miss playing in this band. It was incredibly fun and formative. Not just as a musician, but as a person.
Being in a band teaches you how to interact with people. You have to get along with bandmates, you have to get along with promoters, and you have to get along with fans.
This show, in particular, predated our last album.
I have this song in my head. It just loops over and over and I have never been happier to have such a beautiful melody stuck in the recesses of my mind than I am right now. So, instead of reviewing the gem of an album, I thought I would just focus on this song.
Why? This album is amazing all the way through, but this song stands out. Not because it is the best song, that is arguable. No, it stands alone as almost a lullaby on an almost-punk album. It’s peaceful, it’s beautiful, it’s haunting. It stands as a kind of slap-in-the-face transition from the rest of the mix.
I have a slight tendency to prefer music from the early 2000’s. A large part of it is because I came to my auditory maturity in that time, a lot of it is because there was such a revolution in sounds not seen since the ’60s. Sure, it could be argued that most of it actually started in the ’90s, and I cannot argue that. Regardless of when the experimentation started, it got popular around the turn of the century, and we were all better for it.
Anyway, back to the song. It opens with a simple tremolo on one note, then thunderous drums kick in. After a swell, Karen O adds her voice to the ensemble as a type of whisper. The tones all mix together in an almost ethereal medley until the end of the first verse.
At just shy of 2 min. in, a Pixies like blast resonates from the guitar. This song is the perfect example of the quiet-loud-quiet formula invented by the Pixies back in the ’80s. The formula is simple, but the almost juvenile writing adds to how beautiful the song is. There is nothing to cloud the almost dream like state that this song creates.
Again, this song stands completely alone in it’s execution. The album is stuck somewhere between punk and almost dance pop. Songs like “Date With the Night” are incredibly violent (but still fun) compared to Maps.
Do I recommend this album? Whole heartedly.
Do I acknowledge that it came be disarming in how skattared the tone can be? Absolutely.
Is Maps a good example of the overall feel for the album? Fuck no. I will say that if you are intrigued, I recommend this album with every fiber of my being.
I put together a music video for The Twin from some of the Warped Tour footage. I think it turned out okay. At the very least, it is a fantastic snapshot of one of my favourite songs we recorded.
I fought with myself for a time about which one of the 10+ albums to write about. Minus one album, I fucking love everything this band has released, and the one album is not bad. It just doesn’t hold a candle to everything else this band has done. So, I thought I’d write about the first album that I picked up from this band. Unrelated, but this also stands as my favourite from this band.
On top of having the longest name of any band I revisit on a regular basis, & You Will Know Us By the Trail Of Dead (from here on referred to as Trail of Dead) is one of the most reliable bands that I have ever come across. They brilliantly fuse punk and folk, without sounding too pirate based. Somehow, their recording tone is always huge — larger than life, really.
For just being three main musicians on the recording, it’s a bit amazing. Yes, this album boasts having over 13 musicians in the studio, but the band was only a 3-piece at the time. And, regardless of how many people were in the studio: the drums are what make everything so bombastic. The kick drum in particular permeates every noise layered over it- almost like it is defying anything to try to drown it out.
Guitars are a beautiful drone. Yes, there are probably many layers of distortion and lead riffs, but they are used to create a beautiful miasma that guide the orchestrations from part to part. “How Near How Far” is a brilliant demonstration of this. Though the bass slides up and down the scales, and the guitars jingle through several notes, it creates this level of noise. Yes, there is definition. You need to find it, however. Rarely does an album challenge the listener this much to realize just how beautiful it is.
Now, when I saw challenge the listener, I am not saying that it is off-putting or not pleasant. I am simply pointing out how from afar it seems like a simple pop-rock album with strained vocals. It’s when you sit down and listen deeper that you notice the nuance and complexity that comes with this recording.
Second favourite opening for an album ever, by the way. The only album that takes it over is the album So Divided that Trail of Dead released 4 years later. The intro track is only 1:29, but it complexly disarms the listener before the chaos starts. If you wanted to discredit that track as the intro, the first song (It Was There That I Saw You) kicks the listener in the face right away. It is nothing short of an assault on the senses. As hard as it kicks in, the song moves into a lull by the 1:00 mark. It is an amazing piece, the the song as a whole has an almost classical orchestration.
I could gush over every song individually, but I should really think about wrapping this piece up. My end thoughts on this recommendation are as follows: if you know the band, this album is nowhere near surprising. If you don’t already have it, I question your taste in music. If you DO NOT know this band, do yourself the greatest favour ever and listen through this masterpiece.
Also, you’re welcome.
HEY! Did you know that I have released a book?
It’s a reedit of You’re Not Dead with a bunch of other short stories all wrapped up. The length has ballooned out to a nice 205 pages. It’s really inexpensive, and available most places that you would order a book from! Links here, but let me know if you find more and I will update accordingly!
I just noticed that this album was almost 20 years old. I was in grade nine when then came out, I was just discovering scremo/emo, ska, and skate punk, I was very embroiled in the metal scene. Then, when watching some music video program way too late at night, I saw the debut for Pulmonary Archery. I did not get it, but Holy Fuck I loved it.
What’s absolutely brilliant about this album is how simple everything is if you remove the guitars. Yes, the guitar lines are incredibly ornate and demonstrate what can be done in punk music, but everything else is simple and fantastic! The bass drives the songs and keeps the structures attainable, the drums do little more than drive the beat, and the singing is just simple enough to get melodies trapped in your head forever. Even the screams are perfectly placed to ensure that you notice them.
Now, let’s get back to those guitars.
My prime example of how incredible the guitars are is the song Counterparts and Number Them. The parts individuly, though weird, are not difficult. The impressive part is in knowing they were ever not entwined. They bounce between being lead and rhythm every bar, and they never leave the listener bored. The best part about the guitar is that nothing, not even the drums, cast the dullest shadow.
There is something magical about how simple the drums are. They just compliment the music and never become overbearing. I think every not-real drummer in my high school could play Pulmonary Archery. Not as a slight! It just leant itself to being replicated.
Now I sound like an arrogant asshole so MOVING ON.
I started to write this, decided against it, and then discovered that they were inspired by Quicksand. I love that band to no end, but never hear anyone talk about them. I was forced into writing this because of that fact alone.
Seeing as there has been nothing this hard hitting in the punk-scene since Refused, and this is a fantastic tribute. I recognize that there have been other near-hits in regards to this sound, but nothing is near as iconic.
I know I usually write about stuff that came out forever ago, but this album just got noticed. It may have just been released.
Anyway, this band is fantastic. I played with them several times, and they are bred from Krhaemer. Krhaemer being one of the first bands that I ever saw. What’s amazing about this band is how they make being ridiculous sound normal. I am getting ahead of myself.
This album has some of the cleanest vocals this band has produced. The vocals are like a less annoying Choke. In fact, this band is like a less annoying several things. Take the best things that the classic punk scene could produce, and distil it all together. That’s right: the best of all the best. Now make it better.
Dillinger Escape Plan meets Belvedere meets Choke meets Fall of Troy. That would be the easiest way I could describe this band.
OH! AND SINGLE KICK! somehow. Seriously, how? The drummer is literally inhuman. When listening to the EP knowing that it’s single kick, you can fathom it. If you had no idea, you assume he used double. To substitute the potential extra hits, his hands strike toms between beats. His hands are so bloody fast.
Have I mentioned the bass yet? One would be put to talk to find jazz with bass this complicated. For the best example, listen to Leaving Shippinsburg and thank me later. The entire thing is just scales and melody’s that shouldn’t be possible.
…and you know that ever part of the band is fantastic if I talk about the ridiculous guitar player last. Considering he is the lead vocal last I saw them, I have a hard time wrapping my mind around playing and singing the songs.
At the end of this short review where I don’t point you to a song but beg you to enjoy this 20 min EP, I am reminded why I usually stick to writing about classic albums. I can delve into political movements and the greater ecosystem that is the music industry. I can examine trends and maybe recommend a track that was ignored by charts and fandom’s. It doesn’t change the fact that if you are a punk fan OR a math-metal fan, you need to listen to this album. You need to explore this bands full back catalogue, but this album is a fantastic place to start.