#gordon is so pretty much the same except for the skeleton elements

[chainsawworld]

Yay!! The funnies !!

[radramblog]

Album Discussion- The Fall of Troy

Last week I discussed an album that, more or less, was defined by looseness and empty spaces. This might as well be the polar opposite of that.

(man no-one seems to have uploaded this album art in high res)

Released in 2003, The Fall of Troy is a self-titled mathcore/post-hardcore/screamo debut album made by 3 17 year olds- and in some ways that shows, but it’s not like they were fresh, they’d had two EPs under a different name by that point. The Fall of Troy is probably best known by their song F.C.P.R.E.M.I.X., having been featured as a bonus track in Guitar Hero III, which is notably, not on this album. Rather, their second album, Doppelganger, had a few tracks that were basically retakes of songs from this first album. But we’re not talking about Doppelganger (and I still can’t find a bloody CD of it), we’re talking about The Fall of Troy, by The Fall of Troy, so let’s bloody well dive in.

The first song on here, Rockstar Nailbomb!, is as much a statement of intent as anything I’ve ever seen. It’s starts with hoarsely screamed, incomprehensible vocals over a frenetic set of guitar riffs, that cuts back into a more traditional song structure, you know, after a bit. Like any good opener, it’s introducing what you’re going to be getting from the album- songs that, while extremely energetic, tend to cut between sung vocals and screamed ones at a moment’s notice, complex and overlapping guitar riffs, and a very deliberately unpolished sound. The technical skill on display is incredible considering the age of the band, as well. For such a short song, Rockstar Nailbomb! goes in some real places, closing with a line that would be appropriate to finish off the album as a whole- but of course, we’re just getting started.

The next song is called Spartacus, and it shows off the talent of the drummer in a way that the previous didn’t. Unfortunately, I almost feel like this song was kind of a half-formed idea, considering it’s a minute and a quarter long, and the…squeal…? Near the end is kind of offputting. A mid one.

Oh boy it wouldn’t be a nerd band without ridiculous track names- next up is The Circus That Has Brought Us Back to These Nights (Yo Chocola), and no I don’t fucking know what that means. This one ironically feels the most like a song than the others before it, a slightly more traditional structure, the screaming and singing vocals forming something of a call-and-response that would probably make more sense if I could understand the lyrics half the time. Despite this, it’s no less speedy, frantic, and intricate, mixes between melody and dissonance that are basically the band’s signature.

The fourth track is named Mouths Like Sidewinder Missiles, and it’s one of my favourite tracks on the album. I can’t really describe why, though, so I’m going to take a minute to talk about something else. See, this is one of the tracks that was redone for Doppelganger, and on Spotify, for whatever reason, has the title misspelled “Misssiles”. I let them know about this years ago and they never fixed it, so I guess this is my callout post. For what it’s worth, I think the Doppelganger version is a bit looser, adding in some elements in the empty space (there’s a reverb after the initial riff I really love), but both have their own merits.

Okay, mild rant over, back to regular old rambling. The next track is The Last March of the Ents, Lord of the Rings reference very much intended. This is one of those tracks I always forgets exists to be honest, like the intro started and I was like…what was this one again? And then the bit at like 50 seconds came in and I remembered everything. That section is honestly really strong, though unfortunately the rest of the track kinda feels just like Mouths like Sidewinder Missiles, but like, slightly worse? Which is especially awkward considering it immediately proceeds that song. I will say the part of the song where it slows alllll the way down is really enjoyable, it’s very gradual and smooth, gives the bass a bit of time to shine, before blowing back up again because these guys just can’t bear to play slow for half a minute.

The next track is F.C.P.S.I.T.S.G.E.P.G.E.P.G.E.P. This is the song that their most popular track, F.C.P.R.E.M.I.X. is a version of, and they’ve never actually stated what the acronym is for. A common (and I believe discredited) suggestion is, and I quote, “Fuck condoms, premarital sex is the shit, get ‘er pregnant get ‘er pregnant get ‘er pregnant”, which is A Take. It also has nothing to do with the lyrics of the song itself. This track is actually by far the loosest and slowest on the album completely, appropriate considering it’s first words are “slow down”. There’s really not a lot of screaming on it, left only to the chorus, and they’re actually understandable which is nice (or maybe it’s just because I know it’s “come running home”). This is undoubtedly an emo track, based on the lyrics, but it’s also just kind of excellent, similarly complex lyrics slowed down to a comprehensible tempo and a bridge that builds in a supremely satisfying manner. The comparison to R.E.M.I.X. is of course, inevitable, and I will say the tightening up did help in some places- the very slow section at the latter part of the song probably doesn’t need to go that long, and that’s easily the part that gets sped up most in the redo. Still, the song stands out very naturally, feeling more thoughtful and controlled than its peers.

The next song is titled “Whacko Jacko Steals The Elephant Man’s Bones”, apparently a reference to…a music video where Michael Jackson danced next to a recreation of the skeleton of a famously deformed man. Yeah, ok, sure. I don’t actually have much to say about this one, it’s very scream-led, but doesn’t really stand out to me apart from the naming. It’s play rating supports this, being the second least listened track here, but it’s by no means bad. It’s just kinda long and as generic as something like this can be, I suppose. Honestly I kinda forgot all the directions this goes, some of these sections are really quite excellent, but the song is probably like 2 minutes longer than it needed to be. I’m just saying. Like I kept waiting for this song to try and change my mind and it kinda just didn’t.

Reassurance Rests in the Sea is up next, and god that little riff it’s building around, that just noodles around but at triple speed, is just so sick. It’s a song that spends a lot more time cutting itself down- like F.C.P.etc. it’s looser and slower, but substantially more disjointed than that one is. This song, uh, completely breaks off like two minutes in and just stops. And becomes a different song. Like, I don’t think this is a bonus track or anything, it’s just a part of the same song. And that second half is a really sort of chill (for this album) instrumental, lead by a bassline that slowly gets more riffs over the top of it. And then that bit stops itself, and the main song returns again for like the final half a minute or so. And honestly I was just like, wait, no, go back…….

The actual least listened to track on the album is number 9, The Adventures of Allan Gordon (it’s apparently about a book). Honestly, I’d kinda love to hear this live, because the first minute or so of it is the kind of thing you’d play as an interstitial to keep the audience going while you get your shit ready for the next song. Eventually (and I mean eventually, song’s a third through at this point) the lyrics and such come in, and yeah ok I see why this one isn’t as popular. It’s like, fine? Like, that cut back section is pretty overall mediocre, but when we get back to the screaming and the riffs and the noise its as solid as ever. It’s a little frustrating, because they can do the more lyrical stuff, F.C.P. is right there, but this one doesn’t quite make the mark for me. A shame.

Track 10 is I Just Got This Symphony Goin’, which does not have an actual symphony, but it does present and absolutely killer opening riff, so it’s not all bad. This is one of the songs I most associate with the album, even if it’s one of the ones also on Doppelganger. Its speeding up and slowing down and screaming and singing and lots of interweaving and yeah. I like it. Iunno.

The final song, What Sound Does a Mastodon Make? (I dunno, ask a paleontolgist?), is a full seven minutes, 2 minutes longer than the next longest track. It’s kind of interesting, since the second half of the album going by tracks is much much longer than the first half. It does this really fun bit where the lead guitar and rhythm guitar do their own little call and response thing, immediately followed by one of the weirdest vocal noises I’ve ever heard, and I don’t have a word to describe it, so you’re gonna have to either trust me or listen to it yourself. This song is just really, really long, man, and it goes in a lot of places but none of them are exceptional enough to really justify slogging through a total 7 minutes of it. I’m going to be honest, I’m probably not going to listen to it unless I’m going through the whole album. The extended build near the end is pretty sick, I guess? And the way the last minute just decides to, like, drop everything, and just end with a very quiet, indie-esque instrumental. Like the very “we did it, now we can relax” sort of moment. Lets both you and the band know its over, and you can move on past your energy high to something a bit more chill.

I think the best phrase I can use to describe The Fall of Troy is “ADHD music”. Both in that it feels almost a little distractable sometimes, multidirectional and often not fully resolving its lines, and also in that said lines are great if you’re someone like myself who’s brain needs something to be chewing over while the more conscious parts are trying to do something else. To be clear, I consider this a compliment. Like most music I discuss, this certainly isn’t for everyone, as you’re going to need a tolerance for adrenaline and screaming to enjoy this album, but I do think it’s worth the attempt. Now, I haven’t listened to Doppelganger (or any of the other albums for that manner) in full, so I can’t comment on how the style of The Fall of Troy would evolve over time. But at the very least, this is a very solid starting point for what would become a surprisingly long-lasting act.