![source tags & codes [import]](http://images.amazon.com/images/P/B000062X73.01.TZZZZZZZ.jpg)
| 1. It Was There That I Saw You |
| 2. Another Morning Stoner |
| 3. Baudelaire |
| 4. Homage |
| 5. How Near How Far |
| 6. Heart in the Hand of the Matter |
| 7. Monsoon |
| 8. Days of Being Wild |
| 9. Relative Ways |
| 10. After the Laughter |
| 11. Source Tags and Codes |
Editorial Reviews
Product Description
Artist, And You Will Know Us by the Trail of Dead. UK edition of the U.S. emo band's 2002 album includes one bonus track, 'Blood Rites'.
There are nearly flawless hooks in "How Near How Far" and "Relative Ways," showcasing the band's edgy pop side. And on a drawn-out epic like "Monsoon," there's an almost tangible unpredictability that keeps the listener on edge (it never truly pays off, but has enough strong moments to rank as one of the albums better tracks). Intro, "Invocation," and the interlude, "After the Laughter," both coast by on a similar simple melody, so pretty that I can't even qualify them as throwaways. The album's best moment comes from "Baudelaire," a relatively straight rock song replete with driving guitars and reverb, both melodic and powerful. "Homage" stumbles and falls over its own mountain of excess and "Heart in the Hand of the Matter" is groping blindly for the gravity it needs to survive after soaring too high into the overkill stratosphere. But they're little quibbles, and abundance isn't so much of a bad thing.
Even with them there, I almost never hit the skip button because the album flows so well. Flaws and all, Source Tags & Codes is a great record, one which time and reflection should be kind upon, and I can't fault those who heralded it as a work of genius. Certain moments do make that promise and falling a few inches short is just fine by me.
Best cuts: "Baudelaire," "How Near Is Far," "Monsoon," "Source Tags & Codes," "Relative Ways," "It Was There That I Saw You," "Another Morning Stoner," "Days of Being Wild"
This album perfectly blends the more anarchistic, loud, and bombastic tendencies of their first two records (their self-titled debut and sophomore effort Madonna, both superb) with the more melodic and proggy tendencies they have brought in, especially as evidenced by where they went with 2005's Worlds Apart and their forthcoming album, So Divided (I can only imagine!)
This album starts off with It Was There That I Saw You and from there moves from strength to strength, going to Another Morning Stoner and Baudelaire. The centerpiece of this album has to be the almost operatic suite of How Near How Far, Heart In the Hand of the Matter, Monsoon, and Days of Being Wild. Moving from bombastic choruses, plaintive sections, and almost epic overtures in between, this, the "meat" of the record, if you will, is just beyond beautiful in all its forms. The album ends with the almost-poppy Relative Ways, the melancholy little instrumental After the Laughter, and the calming title track....listen after it ends to hear a spine-tingling string quartet play the main theme from How Near How Far as the album slowly ends.....gorgeous.
Trail of Dead are a phenomenal band and one worthy of more recognition and praise than they get. If you're tired of horrid garbage like The Killers, the Strokes, My Chemical Romance, or any other derivative garbage loved by hipsters and the "Rolling Stone intelligentsia", give Trail of Dead a shot. This would be the perfect album to start with.
"It Was There (That I Saw You)" couldn't be better for the first song. A quiet, simple guitar riff quickly joins the sound of a distant tv and what could only be described as space static. No sooner than the 15 second mark, the bass distinctively drops in half a beat before the loud, distorted, chiming punk chords and Conrad lets out one verse and a chorus about an old girlfriend ("but as time went on, I wondered what went wrong, I wondered what became....of you...") which segues into a great bridge/fuzzed out guitar jam that builds and builds until it bursts back into verse two with another bass dropout and even faster, louder, chimier (is that a word?) guitars and a climactic repeat of the chorus. This sets up the tone for the whole album, as most of the songs go by that same formula of Intro-verse-chorus-cool breakdown-verse-chorus-climax, some more intensely, others less so. I actually didn't like this song so much at first only because it's sung in what sounded to me like the whiny Good Charlotte pop-punk that was circulating at the time.
"Another Morning Stoner" is, even on the first listen, immediate a standout. The two guitar intro, one playing a riff right up there with Cobain's best, the other adding cool atmospheric fills grabs your attention and leads in to melodic, buzzsaw guitars on the verse. I think it was the second single.
"Baudelaire" has fast power chords and lyrics about the poet most famous for writing about boredom being the greatest sin. The fact that this is one of the most forgettable songs on the album is a compliment.
"Homage" is exactly what it's name implies. It's an homage to post-punk screamo bands such as Fugazi and Minor Threat. It's very fast paced and great if you were ever a fan of post-punk. If not, you won't like it.
"How Near How Far" is immediately another album highlight. The mellow, slowly crashing drums combining with a great echo-y guitar riff open the song then the pace is quickened for the verses, until it returns towards the end and builds while the refrain "how near, how far, how lost they are" is repeated about 15 times. This song is so amazing it will be playing in your head for a week after hearing it.
"Heart in the Hand of the Matter" begins with the coolest opening lyrics since "I was born in a crossfire hurricane" from Jumping Jack Flash. You just have to respect any song that begins with "ride the apocalypse" and a continues on with"there's nothing that could be done/we've lost all control/I walk in the shadows of your tortured realm/and I'm so damned/I can't win/with my heart in my hands again." At first, this song didn't really grab me. But, after actually listening to the lyrics I really came to think this is easily up there with the best songs on the album. "Heart in the Hand" leads perfectly into "Monsoon," which must be the most epic song of ToD's career so far. The great lyrics continue with such gems as "roll of thunder like a voice that commands/raindrops fall like the blood from your hands/pray to a God but I doubt that he's listening/this world's a gutter that he likes to piss in/millions of people quietly sleep/dreaming of deserts as the puddles run deep." Musically, "Monsoon" wears it's Sonic Youth influence right out on it's sleeve. James Reece even sounds like Lee Renaldo here.
"Days of Being Wild" blasts off right out of the gate. It's the loudest, fastest, and as far as I'm concerned, best song on all of `Source Tags'. The lyrics about "all night amphetamines" being "alive in jail/alive and well" fit perfectly being shouted over the hammering drums and guitars that sound like their trying to impersonate the sound of metal being viciously torn apart. The song climax's with a chorus being desperately shouted with the poem "Graffiti Deposition" read over it, ending in the line "a middle finger to the institution" and it all just works so surprisingly well.
"Relative Ways" was the first single, which of course means in this case that it's the most straightforward rock song here. Again awards for cool lyrics must go out for "our electric guitar hangs to our knees/got a couple of verses I can barely breathe/it's alright it's ok/it's coming together in relative ways" as well as the repeated lines "it's ok/I'm a saint/I forgave your mistakes".
"After the Laughter" is a instrumental interlude that continues the riffs from "Relative Ways" but quietly and on piano. It's a perfect comedown and a perfect lead-in to "Source Tags & Code" which is one of those perfect album closers where the guitars and lyrics just seem to put you into that totally warm, happy, nostalgic mood without fail every time you listen to it. There's nothing more to be said about this song, you can't not like it. Stick around after the song is over because after a few seconds you hear a very unlikely beautiful violin concerto which is the album's true coda.
Now I'm 21. Finally, I've answered all those questions I used to ask myself while stoned and blasting this in headphones. With the last grains of teenager-dom finally washed away, I still find myself coming back to this CD quite often. So, I'm starting to think that my very first impressions of `Source Tags' were totally right. This isn't just some teen angst [...] you listen to when you're young, then forget. This album is truly one of the greats, one that will be up there with those few albums that have seemed to define entire sections of your life. Albums that when played, have the power to transport you back to all the good times, all the bad times, and at the same time be an excellent album musically and lyrically. `Madonna' before this laid the groundwork, "the St. Elena's Tomb" EP hold's more of the same type of sound found here, before `World's Apart' blew ToD's possibilities wide open with a blend of different song styles. But none of those albums can touch the landmark greatness of `Source Tags & Codes."
...Trail of Dead's major label debut was a step up artistically for the band as it incorporated way more melodic cohesion, but by no means turned their back on their loud, harsh, often abrasive production which some argue should have stayed intact after the next release. I say they still have not made the album that they want to. While Source Tags might be the crowd favorite for their fans, to me it sounds like a fair album with a few very beautiful songs on it, namely found in the middle and the end of the disc. Besides for the few standout guitar driven tracks, the majority of the material earnestly continues their sonic assault, although does not really have any sticking power due to the hard hitting, but somewhat generic writing. A solid, although not particularly impressive alternative rock disc that is definitely worth owning if nothing for the few songs that do hit you hard, right where it counts.
1. It Was There (That I Saw You)- the vocals are toned down in tihs one, but halfway through this song there is nothing but two guitars playing off each other; overall a decent song to set off the record.
2. Another Morning Stoner- one of my favorites on this album. the guitars are amazing without being overbearing;perfect for the song's mood.
3. Boudelaire- a good song; not my favorite, but a strong song lyrically.
4. Homage- the hardest song on this album. it's very punk-influenced, high energy.
5. How Near How Far- absolutely my favorite song on this album, the military-sounding drums combined with the vocals make it a high energy ponderous track.
6. Heart in the Hand of the Matter- piano and dark lyrics will make this song a favorite for people who also like bands like bright eyes and calla.
7. Monsoon- this song continues the trend of lyrics tackling death and other bright, cheery themes of life.
8. Days of Being Wild- another song that comes into the realm of punk
9. Relative Ways- piano over distorted guitar; who doesn't love that?
10. After the Laughter- a very cool outtro of Relative Ways. instrumental and exremely good use of atmospheric sounds.
11. Source Tags and Codes- a nice modern-rock tune that is the only song off this album that'll get stuck in your head. very cool violins at the end.
*This album is amazing, but only if you can deal with the fact that the sound quality is not the best!*
Artist, And You Will Know Us by the Trail of Dead. UK edition of the U.S. emo band's 2002 album includes one bonus track, 'Blood Rites'.
Source Tags & Codes,...And You Will Know Us by the Trail of Dead,Universal/Polydor,Alternative Pop/Rock,Indie Rock,Rock,Rock/Pop
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Source Tags & Codes
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ASIN: B00005YW51 Release Date: 2002-02-26 |
Tracks:
- It Was There That I Saw You
- Another Morning Stoner
- Baudelaire
- Homage
- How Near How Far
- Heart in the Hand of the Matter
- Monsoon
- Days of Being Wild
- Relative Ways
- After the Laughter
- Source Tags and Codes
Amazon.com
With their first major-label release, Austin's most destructive live act will hopefully move from notoriety for trashing their instruments to appreciation for the way they use them. Source Tags & Codes is the third release from the band with the long name, and it is a volatile time bomb of emo, art rock, and post rock that explodes with emotion on every song. The walls of guitar effects and tense, heated vocals provide the band's driving aggression, but they soften the blows with bouts of dark melody, even adding strings and piano in places. The album should please fans of bands such as At the Drive In, Unwound, and Les Savy Fav, but Source Tags & Codes weighs in as heavier, noisier, and, in places, more tormented and beautiful than those bands. With enough twists in its movements to ward off any signs of predictability, Source Tags & Codes is an impressive rock collage that exposes new musical layers with each listen. --Jennifer MaerzCustomer Reviews:
A flawed near-masterpiece.......2007-07-04
There are nearly flawless hooks in "How Near How Far" and "Relative Ways," showcasing the band's edgy pop side. And on a drawn-out epic like "Monsoon," there's an almost tangible unpredictability that keeps the listener on edge (it never truly pays off, but has enough strong moments to rank as one of the albums better tracks). Intro, "Invocation," and the interlude, "After the Laughter," both coast by on a similar simple melody, so pretty that I can't even qualify them as throwaways. The album's best moment comes from "Baudelaire," a relatively straight rock song replete with driving guitars and reverb, both melodic and powerful. "Homage" stumbles and falls over its own mountain of excess and "Heart in the Hand of the Matter" is groping blindly for the gravity it needs to survive after soaring too high into the overkill stratosphere. But they're little quibbles, and abundance isn't so much of a bad thing.
Even with them there, I almost never hit the skip button because the album flows so well. Flaws and all, Source Tags & Codes is a great record, one which time and reflection should be kind upon, and I can't fault those who heralded it as a work of genius. Certain moments do make that promise and falling a few inches short is just fine by me.
Best cuts: "Baudelaire," "How Near Is Far," "Monsoon," "Source Tags & Codes," "Relative Ways," "It Was There That I Saw You," "Another Morning Stoner," "Days of Being Wild"
Major Label Debut...and What a Debut!!.......2006-10-24
This album perfectly blends the more anarchistic, loud, and bombastic tendencies of their first two records (their self-titled debut and sophomore effort Madonna, both superb) with the more melodic and proggy tendencies they have brought in, especially as evidenced by where they went with 2005's Worlds Apart and their forthcoming album, So Divided (I can only imagine!)
This album starts off with It Was There That I Saw You and from there moves from strength to strength, going to Another Morning Stoner and Baudelaire. The centerpiece of this album has to be the almost operatic suite of How Near How Far, Heart In the Hand of the Matter, Monsoon, and Days of Being Wild. Moving from bombastic choruses, plaintive sections, and almost epic overtures in between, this, the "meat" of the record, if you will, is just beyond beautiful in all its forms. The album ends with the almost-poppy Relative Ways, the melancholy little instrumental After the Laughter, and the calming title track....listen after it ends to hear a spine-tingling string quartet play the main theme from How Near How Far as the album slowly ends.....gorgeous.
Trail of Dead are a phenomenal band and one worthy of more recognition and praise than they get. If you're tired of horrid garbage like The Killers, the Strokes, My Chemical Romance, or any other derivative garbage loved by hipsters and the "Rolling Stone intelligentsia", give Trail of Dead a shot. This would be the perfect album to start with.
The Soundtrack to My Own Teenage Riot.......2006-08-13
"It Was There (That I Saw You)" couldn't be better for the first song. A quiet, simple guitar riff quickly joins the sound of a distant tv and what could only be described as space static. No sooner than the 15 second mark, the bass distinctively drops in half a beat before the loud, distorted, chiming punk chords and Conrad lets out one verse and a chorus about an old girlfriend ("but as time went on, I wondered what went wrong, I wondered what became....of you...") which segues into a great bridge/fuzzed out guitar jam that builds and builds until it bursts back into verse two with another bass dropout and even faster, louder, chimier (is that a word?) guitars and a climactic repeat of the chorus. This sets up the tone for the whole album, as most of the songs go by that same formula of Intro-verse-chorus-cool breakdown-verse-chorus-climax, some more intensely, others less so. I actually didn't like this song so much at first only because it's sung in what sounded to me like the whiny Good Charlotte pop-punk that was circulating at the time.
"Another Morning Stoner" is, even on the first listen, immediate a standout. The two guitar intro, one playing a riff right up there with Cobain's best, the other adding cool atmospheric fills grabs your attention and leads in to melodic, buzzsaw guitars on the verse. I think it was the second single.
"Baudelaire" has fast power chords and lyrics about the poet most famous for writing about boredom being the greatest sin. The fact that this is one of the most forgettable songs on the album is a compliment.
"Homage" is exactly what it's name implies. It's an homage to post-punk screamo bands such as Fugazi and Minor Threat. It's very fast paced and great if you were ever a fan of post-punk. If not, you won't like it.
"How Near How Far" is immediately another album highlight. The mellow, slowly crashing drums combining with a great echo-y guitar riff open the song then the pace is quickened for the verses, until it returns towards the end and builds while the refrain "how near, how far, how lost they are" is repeated about 15 times. This song is so amazing it will be playing in your head for a week after hearing it.
"Heart in the Hand of the Matter" begins with the coolest opening lyrics since "I was born in a crossfire hurricane" from Jumping Jack Flash. You just have to respect any song that begins with "ride the apocalypse" and a continues on with"there's nothing that could be done/we've lost all control/I walk in the shadows of your tortured realm/and I'm so damned/I can't win/with my heart in my hands again." At first, this song didn't really grab me. But, after actually listening to the lyrics I really came to think this is easily up there with the best songs on the album. "Heart in the Hand" leads perfectly into "Monsoon," which must be the most epic song of ToD's career so far. The great lyrics continue with such gems as "roll of thunder like a voice that commands/raindrops fall like the blood from your hands/pray to a God but I doubt that he's listening/this world's a gutter that he likes to piss in/millions of people quietly sleep/dreaming of deserts as the puddles run deep." Musically, "Monsoon" wears it's Sonic Youth influence right out on it's sleeve. James Reece even sounds like Lee Renaldo here.
"Days of Being Wild" blasts off right out of the gate. It's the loudest, fastest, and as far as I'm concerned, best song on all of `Source Tags'. The lyrics about "all night amphetamines" being "alive in jail/alive and well" fit perfectly being shouted over the hammering drums and guitars that sound like their trying to impersonate the sound of metal being viciously torn apart. The song climax's with a chorus being desperately shouted with the poem "Graffiti Deposition" read over it, ending in the line "a middle finger to the institution" and it all just works so surprisingly well.
"Relative Ways" was the first single, which of course means in this case that it's the most straightforward rock song here. Again awards for cool lyrics must go out for "our electric guitar hangs to our knees/got a couple of verses I can barely breathe/it's alright it's ok/it's coming together in relative ways" as well as the repeated lines "it's ok/I'm a saint/I forgave your mistakes".
"After the Laughter" is a instrumental interlude that continues the riffs from "Relative Ways" but quietly and on piano. It's a perfect comedown and a perfect lead-in to "Source Tags & Code" which is one of those perfect album closers where the guitars and lyrics just seem to put you into that totally warm, happy, nostalgic mood without fail every time you listen to it. There's nothing more to be said about this song, you can't not like it. Stick around after the song is over because after a few seconds you hear a very unlikely beautiful violin concerto which is the album's true coda.
Now I'm 21. Finally, I've answered all those questions I used to ask myself while stoned and blasting this in headphones. With the last grains of teenager-dom finally washed away, I still find myself coming back to this CD quite often. So, I'm starting to think that my very first impressions of `Source Tags' were totally right. This isn't just some teen angst [...] you listen to when you're young, then forget. This album is truly one of the greats, one that will be up there with those few albums that have seemed to define entire sections of your life. Albums that when played, have the power to transport you back to all the good times, all the bad times, and at the same time be an excellent album musically and lyrically. `Madonna' before this laid the groundwork, "the St. Elena's Tomb" EP hold's more of the same type of sound found here, before `World's Apart' blew ToD's possibilities wide open with a blend of different song styles. But none of those albums can touch the landmark greatness of `Source Tags & Codes."
Overrated, but not a few of the songs.......2006-08-06
...Trail of Dead's major label debut was a step up artistically for the band as it incorporated way more melodic cohesion, but by no means turned their back on their loud, harsh, often abrasive production which some argue should have stayed intact after the next release. I say they still have not made the album that they want to. While Source Tags might be the crowd favorite for their fans, to me it sounds like a fair album with a few very beautiful songs on it, namely found in the middle and the end of the disc. Besides for the few standout guitar driven tracks, the majority of the material earnestly continues their sonic assault, although does not really have any sticking power due to the hard hitting, but somewhat generic writing. A solid, although not particularly impressive alternative rock disc that is definitely worth owning if nothing for the few songs that do hit you hard, right where it counts.
...And Everyone Will Know Them By The Trail of Dead!.......2006-02-08
1. It Was There (That I Saw You)- the vocals are toned down in tihs one, but halfway through this song there is nothing but two guitars playing off each other; overall a decent song to set off the record.
2. Another Morning Stoner- one of my favorites on this album. the guitars are amazing without being overbearing;perfect for the song's mood.
3. Boudelaire- a good song; not my favorite, but a strong song lyrically.
4. Homage- the hardest song on this album. it's very punk-influenced, high energy.
5. How Near How Far- absolutely my favorite song on this album, the military-sounding drums combined with the vocals make it a high energy ponderous track.
6. Heart in the Hand of the Matter- piano and dark lyrics will make this song a favorite for people who also like bands like bright eyes and calla.
7. Monsoon- this song continues the trend of lyrics tackling death and other bright, cheery themes of life.
8. Days of Being Wild- another song that comes into the realm of punk
9. Relative Ways- piano over distorted guitar; who doesn't love that?
10. After the Laughter- a very cool outtro of Relative Ways. instrumental and exremely good use of atmospheric sounds.
11. Source Tags and Codes- a nice modern-rock tune that is the only song off this album that'll get stuck in your head. very cool violins at the end.
*This album is amazing, but only if you can deal with the fact that the sound quality is not the best!*
Average customer rating:
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Source Tags & Codes
...And You Will Know Us by the Trail of Dead Manufacturer: Universal/Polydor ProductGroup: Music Binding: Audio CD General
| Alternative Rock
| Styles
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Indie Rock
| Indie & Lo-Fi
| Alternative Rock
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ASIN: B000062X73 Release Date: 2002-03-11 |
Tracks:
- It Was There That I Saw You
- Another Morning Stoner
- Baudelaire
- Homage
- How Near How Far
- Heart in the Hand of the Matter
- Monsoon
- Days of Being Wild
- Relative Ways
- After the Laughter
- Source Tags and Codes
Album Description
Artist, And You Will Know Us by the Trail of Dead. UK edition of the U.S. emo band's 2002 album includes one bonus track, 'Blood Rites'.Album Details
Texan Four Piece with Heavy Guitars and Screaming Vocals on their Third Outing. Features a Bonus Track: 'bloodrites'.Customer Reviews:
i cant believe no one has rated this yet.......2005-06-08
Average customer rating: 
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Source Tags & Codes
And You Will Know Us by the Trail of the Dead Manufacturer: Universal ProductGroup: Music Binding: Audio CD General
| Alternative Rock
| Styles
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Indie Rock
| Indie & Lo-Fi
| Alternative Rock
| Styles
| Music
General
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ASIN: B000065EA2 Release Date: 2002-05-22 |
Tracks:
- Invocation
- It Was There That I Saw You
- Another Morning Stoner
- Baudelaire
- Homage
- Has Near Has Far
- Life Is Elsewhere
- Heart Inthe Hand Of The Matter
- Monsoon
- Days Of Being Wild
- Relative Ways
- After The Laughter
- Source Tags & Codes
- Blood Rites
Album Details
Japanese Version featuring a Bonus Track: 'blood Rites'Rock Music:
- Stay with We: The Best of NRBQ
- Streetlife Serenade [Enhanced] [Original recording remastered]
- Take it to The Spotlight [Explicit Lyrics]
- The Bridge [Enhanced] [Original recording remastered]
- Them Rockabilly Cats!
- They Only Come Out at Night
- Total Evaporation
- Town and Country
- Tripping the Live Fantastic [Live]
- Uncovered Too [Import]
