Band: …And You Will Know Us By The Trail Of Dead
Release: Lost Songs (Album)
Release Date: Out Now
Let’s begin with a definition of art-rock: according to a number of “highly reliable” (cough) internet sources, art rock sees an extension of the limits constricting rock and roll by providing a more experimental or conceptual outlook on the genre. Perhaps a somewhat broad definition, …And You Will Know Us By The Trail Of Dead (from now on referred to by the over-complicated acronym AYWKUBTTOD) have found themselves not only placed, but sealed and delivered within the art-rock box. Particularly their earlier material, complete with tracks well in excess of six or seven minutes, pushed at the boundaries of progressive rock and were accompanied by conceptual ideas which often hit the mark, but often did not. As they developed there was a definitive shift in attitude by the band, resulting in more direct approaches to song structure but still retaining elements which defined their arty nature back at the turn of the century. With ‘Lost Songs’ providing a commentary on the state of modern indie music (arguably a concept), the question arises on whether the record sees the band tear the confinements of the art-rocker box.
In short: No.
‘Lost Songs’ is unlikely to counteract any preconceptions the listener may have in regards to AYWKUBTTOD. Although the tracks are decidedly more succinct than earlier material, this is not a huge step forward from last year’s Tao Of The Dead. Each track continues with the typical structure put in place throughout their back catalogue, and successfully demonstrated through the opening track; ‘Open Doors’. The songs combine various moments of distortion with elongated climaxes, all comfortably overseen by Conrad Keeley’s unique vocals. There is little on offer to distinguish between the twelve songs, and it takes the misguided title track to actively pull attention back to the record in question – unfortunately not for particularly positive reasons.
There are hints of excellence at various points throughout the record, however even these evoke the notion of déjà vu. ‘Bright Young Things’ implements unpredictable time signatures and distortion to generate a faster and more engaging sound, while ‘Camera Obscura’ allows Keeley to enforce the punk undertones of his vocal style – complete with the occasional spine-tingling scream. The unexpected highlight of the record arrives in the form of ‘Awestruck’; turning the tempo on its head and instigating impressive atmospheric guitar moments. ‘Awestruck’ provides a track as close to a ballad as the record will allow without affecting the continual nature. ‘Flower Card Games’ is similarly likely to turn some heads with its take on post-grunge – undoubtedly causing a rift in the attitudes of fans; some will love it, and some will definitely not.
Discounting the occasional moment of ingenuity, the larger proportion of the record is let down by a lack of variety. Even after repeated listens it is difficult to locate distinguishing features within the central portion of ‘Lost Songs’. The result is a somewhat subdued release for the progressive punk rockers. If art rock is defined as an extension of the limits of rock and roll, AYWKUBTTOD were art-rockers fifteen years ago. In order to stand out again it appears there is a need for the band to extend their self-generated limits and create a movement of their own.
6/10
Reviewer: Ben Tipple
