Tag Archives: epic

Don’t Shudder

Great news today from reunion land, where Shudder To Think will join a growing list of acts banding together to make a little tour. It’s not much, but I’ll certainly take it. It also doesn’t hurt that Boston is one of the few locations in America that the band is scheduled to hit; they’ll be playing at Paradise Rock Club on October 11th.

Shudder To Think\'s Dischord Days

Shudder To Think provided one of the most interesting sounds on the Dischord roster when they joined in the late 80s. Sure, Fugazi was turning all notions of post-hardcore and emo on their heads, but Shudder To Think was an entirely different beast. They were a band that pulled more and more towards the aesthetic elements of psychedelia over time, though their ethos was still intensely grounded in the DIY punk realm. Their earliest work veered through the quick one-two punch of hardcore drumming before opening up to gaping waves of 60s-flavored guitar-work (see “Chocolate” off of Funeral At The Movies).

The band did refine their sound, as seen on 1992’s Get Your Goat. Shudder to Think did more than simply re-tread the old aesthetic waters of Revolution Summer emo acts. They took the combination of hardcore and pop on a roller coaster to the clouds; it didn’t hurt that frontman Craig Wedren’s eerie falsetto became as controlled, textured, and wholly unpredictable as the band’s sound. Their work mirrored and even impacted their future touring partners, Sunny Day Real Estate (at least according to the Alternative Press article on the 23 bands, where Shudder To Think is name-checked as being one of the DC bands perpetrating the particular style of emo). It’s hard not to see the connections between the two bands. Both made use of intelligently-crafted punk rock, both sought solace in the musical realm of the 60s and 70s, both featured vocalists with unusual singing styles in the realm of punk, and both brought a distinct change in style to the labels they became a part of (although, Sunny Day’s work at Sub Pop was more a rejection of by then typical grunge than it was an evolution of the label’s aesthetic… then again, Dischord had a fluid aesthetic that lends emo a certain sense of flexibility that exists to this day). Shudder To Think’s status as not only a creative, genre-bending band, but a cross-national influence works to establish their importance in the narrative of emo; their eventual connection with Sunny Day is one of many moves that helps to solidify a cross-substantial aesthetic idea of emo, as well as a burgeoning community surrounding emo (touring would become an important part of the Mid Western emo community as many bands that toured with one another shared ideas and friendship through their troubadour spirits).

Shudder To Think would continue to spread the idea of an evolutionary emo sound when they signed to Epic to release the Pony Express Record; they were only one of two Dischord bands to sign to a major label frenzy in the great alternative buyouts in the post-Nevermind music world. But the world wasn’t ready for the Pony Express Record (nor was it ready for most of the bands that were signed in the major label buyouts). Hell, emo wasn’t really ready either. Shudder To Think always had an odd style, but it got even weirder with their major label debut. In an aesthetic style that prided itself on lyrics that were both ambiguous but contained a sense of personal investment to the band and listener, Shudder provided a great thesis in that flexibility and a great revolution against the concept. Pony Express is lyrically obtuse, it’s music strung all over the place. And it’s still positively great, though a little rough to get into at parts. If emo means emotional music over punk rock, nothing fits that idea better than the wailing anthem that Wedren lets out against a sea of guitars on the two-plus minute long chorus closing out “X-French Tee Shirt”.

The rest of the Shudder To Think tale is all over the map. Wedren battled Hodgkin’s Disease while recording their second major label album. And a couple of projects were made under the Shudder To Think name: a soundtrack for the movies First Love, Last Rights (featuring guest vocals from folks such as Jeff Buckley), High Art, and a selection of songs for the glitter-rock inspired film Velvet Goldmine.

Shudder To Think broke up shortly thereafter in 1998. Wedren has been the most visible and successful of the band members since the breakup with a solo career. However, Wedren’s solo work is probably best recognized in the guise of three other guys: Michael Showalter, Michael Ian Black, and David Wain. Wedren has been the trio’s go-to guy for movies like Wet Hot American Summer (he wrote the song “Wet Hot American Summer” and co-wrote the hilarious track “Higher and Higher”), The Baxter, and The Ten (in which he also played an extra in the chorus of nude dudes).

Craig Wedren

What will happen with the new Shudder To Think reunion? A new album? Five new albums? Or just a simple tour. Whatever happens, something good is sure to come.

Shudder To Think – X-French Tee Shirt (video)

Advertisements

Lawrence And Cambria

Lawrence of Arabia is one of those movies your told, nay instructed, to see if you enjoy film of the sort. I knew it was epic, but I had no idea how epic until the big, bold “Intermission” stood on screen about two and a half hours in. Planning an intermission in your film? Now that’s epic. All told, I walked into Coolidge Corner Theater around 7 and left after 11. And the movie was everything I thought it would be, and not quite what I expected. The cinematography was wonderful – big, sweeping shots of the desert right from the get-go. The acting wasn’t overwhelming, just was simply well done through and through. It wasn’t action-for-action shots throughout the three-plus hours, but the tension that built on the screen boiled over in every image, making the time pass by without a stir. And its connections to real-time concerns with what’s going on in the Middle East today was, well, more than simple good planning. Every detail was meticulously pondered over, and for an epic effect.

The real T.E. Lawrence

In the world of emo, nothing is more epic than New York’s Coheed & Cambria. It certainly helps that the world is of no concern to the band; their four concept albums span a web of narratives in an alternative universe created by frontman Claudio Sanchez and the group itself is named after the story’s two protagonists. Throw in Sanchez’s alien-like falsetto, the band’s taste for grand prog instrumentals that span into the double digits, and a narrative that transcends tales of love at its very best, and you’ve got something downright epic in the emo scene now over-run with three-chord pop-punk flavored anthems.

Coheed & Cambria share some similar stylistic elements to emo forefathers Sunny Day Real Estate (most notably the unheard of falsettos shared by their frontmen and the melding of progressive instrumentation), though Coheed is at an absolute extreme to Sunny Day. Coheed are otherworldly by comparison; their concern with matters of an alternative universe (one which Sanchez has plotted out in comic book form), their instrumentals run at sometimes-comical lengths and include too many time signature changes to account, and their musical aesthetics are more connected to the realm of New Jersey’s Lifetime than any DC Dischord act. It’s so absurd, yet so unrelentingly plausible and popular that it makes for the most epic sound in modern emo and on the top of the Billboard charts.

Coheed & Cambria

Personally, I’ve had a hard time getting into Coheed’s last two albums. For some reason, whatever I listen to just seems devoid of the same cathartic expression and passionate performance of Second Stage Turbine Blade and In Keeping Secrets of Silent Earth: 3. Sure, some of the lengthier tracks on Good Apollo, I’m Burning Star IV Vol 1 run the gamut of musical menageries, but at some point the album seemed too absurd for its own intentions. It’s an excellent case for and against the idea of epic. When it all comes together in a creative and ingenious manner (see “Everything Evil” off Second Stage) it works wonders. But too often the beast becomes to big for its own good, and end in and of itself that is impressive more for its size than content; it loses the fresh vigor and zeal that drove it to such a passionate beginning. Coheed is traveling a fine line between both worlds. It’s not quite Lawrence of Arabia, but thankfully nowhere near Epic Movie.

Coheed & Cambria – Devil In Jersey City