… And You Will Know Us By the Trail of Dead
The Century of Self
Rating: 4.5
Label: Richter Scale Records / Justice Records
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It was a shaky breakup between … And You Will Know Us By the Trail of Dead and Interscope. Snipping the umbilical chord from the powerhouse label in autumn 2007, the band launched its own label, Richter Scale Records, a throwback title to their debut album’s opener. This pivotal move in the band’s career shows they’re as apt with their instincts as they are with their songwriting. Concocted under their own clear vision, and free of Interscope’s restraining manacles, the Trail of Dead presents their most accomplished album to date.
In late 2008, the Trail of Dead released a four-track teaser EP entitled Festival Thyme, three songs of which make their presence felt in some form or another on The Century of Self. If anything, the EP was a precursor to the full-length album’s epic intensity. For 13 songs, Century sprays an intricate swirl of sound over the speakers. Although constructed from such polarizing genres like pop, progressive and the band’s signature compositional punk, Century’s sound is united under Chris Coady’s production. His grandiose ambiance is matched by the amiable ferocity of such emo-tinged anthems like “Far Pavilions” and “Isis Unveiled.” The resulting versatility is ironically balanced because of its bipolar elements.
Consequently, Century should acquire a wider fan base for the band. Old-school fans alienated with the band’s gradual foray into prog rock will have no merit accusing the band of being pop sellouts. It’s also unlikely that Century’s punk sensibilities will turn off progressive and pop purists. Conrad Keely, Jason Reece and Co. have carved out an accommodating middle ground. Racing, chanting anthems like “Ascending” are as catchy and empowering as the dreamy, sweeping “Bells of Creation.”
Midway through the album, a hiatus from the initial pounding epics sets in. The mid-western-tinged “Fields of Coal” and “Luna Park” explode into larger-than-life Beatles-sounding choruses. “Inland Sea” is a piano-drenched number recalling the sonic ear candy of Source Tags and Codes. The final stretch of songs portrays the Trail of Dead’s concise and prog-heavy side. Both parts of “Insatiable” are companion ballads better suited as ditties, as presented here in their severed form, instead of as one longer piece. These final shorter song arrangements pay off by keeping the pace rolling where other albums tend to fizzle out.
In Century’s closing moments, the final bursting chord and synth ambiance abruptly fade out. For a brief moment, a barely audible audience cheers before it is silenced. It’s as if the song is cut short, a sort of mockery the band placed upon itself. Perhaps the Trail of Dead aren’t fully convinced if they made the right move by cutting ties with Interscope. Be very confident, guys; with 13 songs evincing your multi-genre genius, you have no reason to be any other way.
by Jory Spadea
