Reviews

Record #757: Coheed and Cambria – Second Stage Turbine Blade (2002)

/ Nathaniel FitzGerald / 1 Comment

Looking back, it makes no sense that Coheed and Cambria was ever lumped in with the early 2000s emo/post-hardcore/pop-punk scene.  Sure, they were members of the Equal Vision Records roster and shared a number of tours with scene mainstays like Thursday, The Used, and Further Seems Forever. They were even a fixture of Warped Tour for several years.

But musically, they have far more in common with bands like Rush and Led Zeppelin (to whom Coheed was compared by Guitar World on the advent of their sophomore album) than Sunny Day Real Estate or Jimmy Eat World. If Coheed was emo, it was by the most tenuous definitions of the term.

But that doesn’t change the fact that this was one of the most important albums of my emo phase.

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Record #756: June of 44 – Tropics and Meridians (1996)

/ Nathaniel FitzGerald

One of the more interesting things about music to me is how we attempt to categorize and classify according to imperfect terminologies—and more specifically, how that terminology changes over time.

Take for instance the term math rock. These days, it is most often used to describe neo-prog with noodly guitar lines (usually played with two-handed tapping) and rapid meter changes through odd time signatures. Think Chon, TTNG, or Polyphia.

But in the mid-to-late 90s, the music called “math rock” was much more patient. There were plenty of odd meters and angular guitar lines, but tempos were slower, more cerebral than maniacal, relying more on compositional experimentation than technical virtuosity. More interesting, much of this early math rock was born at the intersection of post-hardcore and post-rock. Think bands like Slint, Roadside Monument, late-era Frodus, or even Sunny Day Real Estate’s LP2.

One of the hidden gems of this scene is June of 44, who I have somehow entirely missed until the last few months.

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Record #755: BIG|BRAVE – A Gaze Among Them (2019)

/ Nathaniel FitzGerald

Anybody who has even the most passing familiarity with this blog can tell that there are a few musical tropes that I cannot resist. Among them are crushing walls of sound, ominous, glacial tempos, lush atmospheres, and emotional female voices.

And Big Brave from Montreal delivers all these in spades, combining each of my favorite colors into a stunning landscape that is at once sonically crushing and achingly gorgeous.

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Record #754: In Parallel – Fashioner (2020)

/ Nathaniel FitzGerald

As much as I love old-school shoegaze and new wave, I might enjoy it just as much when the punks lay down their aggressive downstrokes and power chords to reappropriate those sounds and moods in earnest.

Granted, neither Hopesfall nor Celebrity have exactly shied away from integrating these retro influences in their brands of post-hardcore. Even at their heaviest, they’ve retained a sense of tunefulness and melancholy that recall bands like New Order, My Bloody Valentine, and of course The Cure.

But when members of those projects join forces to delve more sincerely honor those influences, the result is magical.

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Record #753: The Casket Lottery – Moving Mountains (2000)

/ Nathaniel FitzGerald

It feels bizarre to remember now, but by the time 2000 rolled around, many people had felt that the emo scene was already waning—after all, Sunny Day Real Estate had already broken up and had a reunion. Mineral had been defunct for two years. And even those stalwarts were considered to be latecomers—and even imposters—to a  scene rooted in emotional hardcore bands like Rites of Spring and Embrace.

But the turn of the Millenium saw an explosion of the emo scene, with bands like American Football, The Appleseed Cast, Jimmy Eat World, and hundreds of others borrowing the juxtaposition of sparkling clean guitars and cathartic explosions of distortion to create their own language.

One of the understated heroes of this scene was The Casket Lottery, formed by former members of mathcore pioneers Coalesce. While certainly a departure from their off-time metalcore chugs, there’s certainly enough muscle in their sophomore album, Moving Mountains, to dissuade anyone from calling them wimpy emo kids.

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Record #752: David Bowie – Lodger (1979)

/ Nathaniel FitzGerald

I received a great kindness the other day.

Some months back, my friend Billy commented on one of my posts about David Bowie and we got to talking about his Berlin Trilogy. I mentioned that I had never been able to find a copy of Lodger, the third (and perhaps oddest) in the run and put the conversation out of my mind.

But not Billy.

A few days ago, he showed up at my wife’s shop with a copy for her to give me. That is generous enough, but it went even deeper. As it turns out, many years ago, he had given away his record collection when he came to faith, and when he found out that I was missing this record, he tracked down the friend to whom he had gifted his records so that he could fill the gap in my collection.

That’s a rare gift, and in most cases, the music itself would be overshadowed by that generosity. But Lodger is just as odd and meandering as the tale that brought it to me.

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Record #751: The Appleseed Cast – Two Conversations (2003)

/ Nathaniel FitzGerald

If I seem to be contradicting myself across the different narratives I tell about how I got into the Appleseed Cast, it’s because my relationship with the band is a little contradictory. We had many passings with one another before I finally fell in love with the project, and each of those feel like a fitting introduction for a story about how someone fell in love with one of their favorite bands.

But perhaps the most impressing of those introductions was the track “Fight Song,” a driving, passionate lament that cut me to the core when I first heard it. I was already familiar with the group after hearing them on a few Deep Elm compilations, but I had never dug further. “Fight Song” convinced me that they were a band that was worth the attention.

Unfortunately, it came at a time when I was setting aside the emo/punk/hardcore scene as a whole and branching out into other genres, and so I missed it at the time. Luckily, there’s always still time.

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Record #750: Chris Stapleton – Traveller (2015)

/ Nathaniel FitzGerald

There is a common thread in the world of musical appreciation that people will write off Country music with absolute prejudice.

Admittedly, much of it is deserved: the genre has been dominated by watered-down Southern twanged pop music for the last few decades. I don’t blame anyone for hearing Rascall Flatts or Keith Urban and wanting nothing to do with it.

But the songs topping the country charts are a poor representation of the genre—which is itself deep and rich, full of tragic storytelling, wonderful musicianship, and skillful songwriting.

Ever since catching his incredible SNL performance of “Parachute,” Chris Stapleton has been my prescription for anyone who dismisses country music wholesale. And so far, that treatment has a 100% success rate.

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Record #749: The Appleseed Cast – Mare Vitalis (2000)

/ Nathaniel FitzGerald

Across their near twenty-five year career, The Appleseed Cast has cemented themselves as a band that can do no wrong. Their work has consistently exceeded expectations, pushing their songwriting, instrumental performances, and inventive production to the limit with each release.

But what’s sometimes difficult to remember is just how quickly they jumped to that level, as seen by their 2000 full-length Mare Vitalis, a masterwork that demonstrates the group’s ability to blend emo expressiveness and post-rock atmospherics, seasoned with some bursts of post-hardcore to taste.

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Record #748: The Jimi Hendrix Experience – Electric Ladyland (1970)

/ Nathaniel FitzGerald

Whenever a new technology makes its way into music—such as autotune, synthesizers, samplers, or drum machines—it’s often accompanied by a chorus of naysayers saying things like, “you’d never see a REAL musician like Jimi Hendrix using that crap.”

They’re really betraying their own ignorance there, as Hendrix had absolutely no qualms about utilizing whatever new technology he could get his hands on. This is most demonstrated on the last album he made before his death, the massive double album Electric Ladyland. While the Experience had plenty of psychedelic elements on their two previous albums, Electric Ladlyand dives headlong into studio weirdness and compositional surrealness, offering an album that is as rewarding as it is imposing.

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