Man, this month’s column has been a complete trip down memory lane and this last one from me is a real trip back to the well. This is an album that I bought brand-spankin’-new when it came out and listened to it so fucking much that I had to replace it within two months of the original purchase. Fuuuuck. The album in question is none other than the sophomore album from 36 Crazyfists titled A Snow Capped Romance. This was the first album that came to mind when Lane pitched this column to me and I know he holds it in high regard also.
The thing about 36 Crazyfists is that they are still a very good band. Every album is sincerely listenable, although their magnum opus will forever be A Snow Capped Romance. I mean, kicking off the album is the insanely singable and catchy debut single from the album “The End Of August” which sets a tone for the entire album to come. Creeping up immediately after is one of my favorite tracks of all time, “The Heart And The Shape,” which has never left my heart and iPod. The riffing on this track is crunchy and melodic and Brock’s vocals are of the hook. Absolutely a crushing song.
The second single off of the album, titled “Bloodwork” is also insanely catchy, although it has a much slower pace to the verse sections of the song. Brock really gets to expand on his singing here. Brilliant. Steve Holt’s insanely subtle but effective guitar work on this song is astonishing. “Kenai” has a much more spastic, bass-driven vibe to it and stands out amongst the tracks that came before it. Also, coming in at under three minutes, it’s the second shortest track on the album.
“Skin And Atmosphere” has one of my favorite lyrics that Brock has ever written and they are the first words of the song: “I think I’ll rename my heart the calendar, becaust it will surely know just where to end.” I’ve always loved this and I’m pretty sure I wrote it on many a desk in school. Emo as fuck and I adore it. “Song For The Fisherman” is a heartbreaking interlude-ish song slap-dab in the middle of the album. It’s an emotional spoken word with some of Steve’s great (albeit simple) guitar work and basic drums. I dig.
“With Nothing Underneath” kicks off similar to “Kenai,” with that meaner, spastic crunch. This track makes me want to erupt into a whirlpool mosh, which I expect happens when/if the boys ever play it live. “Destroy The Map” has a much different vibe than anything else on this album. It’s much lighter and bouncier, which always made it seem somewhat out of place, but not a bad song in the least. It has it’s heavy moment, but doesn’t have that crunch.
“Installing The Catheter,” which is a horribly painful process if you’ve never experienced it, has a bit of that vibe you get from the last song, but it has a darker edge to it over all. Still slower than some of the other tracks, but Brock’s voice is on point throughout. As “Cure Eclipse” bursts on, thank pissed off tone is back and we are grooving. This track has some mad bass lines throughout and the vibe is very up-and-down.
“Waterhaul” begins like it will be a part two to “Song For The Fisherman,” but when it kicks in, it’s got a mean, slow, groove that is even sludgy at times. That chugga riff makes me squeal like a teen all over again. Man, this album takes me back to a time in my life where I needed this music and it makes me crave it all over again. I’m thrilled that I never let this abum go and that it has aged so well. You know you’re into it and if you’re not, I feel for you.
Thanks everyone for reading my lame-ass words over the last few weeks. It’s been a blast.