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Finding a band that you truly love is one thing, but finding a band
that you truly love each and every one of their albums is really rare.
I found that affection in the band The Classic Crime. Each
of their albums has been a masterpiece all its own. Their debut release
Albatross has been out on the market for about two years and
has yet to leave my car. So, with an acoustic EP (Seattle Sessions)
under their belt, the band heads back to the alternative sound with
the third installment from the Crime: The Silver Cord.
I would love the opportunity to sit down with Matt (lead vocals)
and figure out from what part of his brain the image for this album
artwork came from. This is one of those CDs that truly deserve to
be called art. And it's not just from the front cover; the music itself
is a Monet in the scene of today. It may not make sense at first,
but if you really listen, you'll see how amazing it can be. "Just
A Man" begins the colorful journey. The lyrics speak of a distraught
man, almost begging for forgiveness from the one he loves, with the
reasoning of "I'm just a man." It's not really an angry
song, more rather a chaotic song. It glides in at the beginning, but
then rages out at the end; everything in the middle is insane, especially
the precision guitar work. "Grave Digging" would make the
best riot song. The synchronized "hey" chants at the beginning
help to get the blood flowing. There is absolutely no way to sit still
while listening to this song. Matt really shows a new side with an
almost metal yell, popping up mid-song. However, the lead guitar solo
that follows is incredible, straight out of an 80's or 90's classic
rock album. It may only last for a few seconds, but it's enough to
make you want to rewind the song. I can't quite make out exactly what
the lyrics are saying, but with that energy it really doesn't matter.
The metal yell ends the song, but this time it seems fitting.
"The Way That You Are" has the type of sound that would
please die-hard fans of Albatross. It's a bit mellower than
the previous songs. Not to say this song is slow, [it] just has a
different feeling. There is an element that is new to me and possibly
the band. Right before the chorus leads in there is a distinct bass
riff or perhaps drum beat; it's set so loud in the song that it seems
like it's shaking the speakers on which it was recorded. This little
sound element adds excitement. When I first heard it, I was listening
to the record on my computer. But afterwards, I was inexplicably drawn
to my car and the better/louder speakers. It makes you want to crank
it up as loud as possible, so as to actually get that speaker shaking
experience. The tempo slows down even more with "Salt In The
Snow." This is one of those songs that lowers the instruments
and allows you to really take in exactly what Matt is singing about.
I'm not sure if I'd really call this a love ballad, because a love
ballad wouldn't have the cymbals working overtime. No, it's more a
very strong and powerful proclamation. What I do love about it is
it quiets down, just as though it were ending. But it's not done!
You still get another minute of song; very sneaky.
With the constant discussion going of "Christian" vs. "not
Christian", I have to say I was surprised to run across a song
titled "God And Drugs." However this song is far from any
church hymn. It's not exactly anything specific, except for a great
song. There is some cleverly placed drama that ensues in the latter
part of the song. A subtle hint of guitar and drums gradually increase
in intensity as Matt repeats "you won't go away." It's eerie
and dark, but not in a bad way. One of my favorite songs on the album
is "Medisin." The alternate spelling causes curiosity without
even hearing a second of the song. Its starts out very simple, basic
guitar notes and non-complex drum beats. This song goes along with
the dark feeling set up by the previous song. This time it's prefaced
more by the tone of the lyrics. They talk of a fed-up man, fed-up
with life and society. Though the fact that the chorus repeats "I
know there's more to life than drinking," leads you to believe
that perhaps all is not lost. "The Ascent" is beautiful.
Purely instrumental and absolutely incredible. The album ends just
the way is began: backwards. The first song was "The End"
and the last is "The Beginning." It's a refreshing way to
do an album. It's like they're reminding us that the end is not actually
the end, but a new beginning. The tone and lyrics are encouraging,
up-lifting and light. This is the kind of sound I came to love the
first time I was introduced to Matt and the guys.
This album is fantastic. It goes nicely in line with the rest of
the amazing work The Classic Crime has put out. I will never miss
an opportunity to see these guys live and neither should you. This
is an absolute must for any music library.
-Rachel Fredrickson
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