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I kind of regret missing records like these. They only come along once every decade, and usually when they do, they are ignored due to the fact that the record company can’t afford to pay NME / MTV to advertise / review their band / record or give it a bit of screen time. This, plus the fact that the Dismemberment Plan found themselves cut from Interscope records (due to not being sell-outs) after having just completed a new record (a situation that arose again in 2002 when Wilco’s brilliant ‘Yankee Hotel Foxtrot’ was canned) didn’t exactly help either. So in 1999, after having re-signed to DeSoto records, the aptly named ‘Emergency and I’ was finally released.
‘Emergency and I’ is the kind of record that can change your perception of how good Rock n’ Roll can get. Not only does it single handily sound completely unique in an increasingly recycled genre, it somehow, at the same time, sounds irresistibly like every record you own. It draws (inspiration) from the Pixies, Joy Division, Talking Heads, Radiohead and Sonic Youth, while still remaining sonically exceptional. By somehow avoiding the dregs of modern music and snorting up (Pete Doherty style) the best of the 90’s Indie Pop scene, ‘Emergency and I’ emerges as a record that drips emotion, energy and an enraging intensity, a hallmark ever missing from the current rock climate.
‘Emergency and I’ may not be the anti-rock, but it sure feels like one. Unlike you’re per usual climax-building opener, ‘A Life of Possibilities’ drives into the vocals within a second, the bass squelching under the trembling of Travis Morrison’s vocals, before satisfyingly soaring to a shimmering climax. While ‘A Life of Possibilities’ thematically hints at social isolation, the staggering ‘The City’ oozes alienation while still remaining uplifting. The synth bass riff swoops and dives over the automated, chiming guitars while the drums clatter and crash like a rocket-propelled tube train. Morrison’s delivery aches loss in love against the contrasting buzz and bustle of city life; The parks lay empty like my unmade bed / The streets are silent like my lifeless telephone / And this is where I live / But I’ve never felt less at home’. Never has such a masterpiece received such little public adoration; it’s a crying shame.
Morrison’s ability to change singing styles in little to no time is highlighted in the frenetic ‘I Love A Magician’, as delivery almost crazed in the verses, to harmonious in the chorus. In the supreme slice of Indie Pop pie ‘Gyroscope’ and the uber-Weezer style of ‘What Do You Want Me To Say?’ Morrison hints at an ever-growing frustration with his relationships with the female kind while still remaining unnervingly catchy. ‘You Are Invited’ sees, much akin to their previous records single: ‘Ice Of Boston’, Morrison narrating a story that revolves around the receiving of a magical invitation that allows access to all the much sought after hotspots. The electronic flickers and drum machine line, climax into the pop-rock chorus before descending back into a comforting final encore.
The renaissance of keyboards in rock music continues on the beautiful ‘Spider In The Snow’, the false orchestral opening swelling into a panic struck miasma of melody, while Morrison’s sentiments swoon over the top; ‘The only thing worse than bad memories / Is no memories at all’. ‘Memory Machine’ rides on a cascade of pre-Kid A computer noises and streaming guitars that ring incessantly while the chorus wallows in glowing electronic majesty, sharply contrasting against the futile lyrics (‘Someday I’m telling you / They’ll make a memory machine / To wax our hearts to a blinding sheen / To wash away the grief).
The albums finale is perhaps the most breathtaking. The penultimate song ‘8 ‘ Minutes’ screeches with a raging confusion; the lurching opening lines: ‘I launched all the world’s nukes this morning / hoping it would kick-start something’ scarring you for life whilst the guitars slice and dice in the background. The dance / funk / punk bass and drum of the closer’s ‘Back And Forth’ are horrifically infectious, as a possessed Morrison sings at an unnerving tempo before becoming almost dangerously passive in the anthemic chorus. The subtle keyboard hooks and edged guitar giving an unbalance mood suited to the song. As the wavering keyboard line screams and the guitars fuzz uncontrollably, the album slinks into an unwanted final silence.
‘Emergency and I’ should have been huge but such innovation is rarely greeted with open arms. The sole fact that ‘Emergency and I’ still sounds unique six years on is proof of its brilliance (and also proof that Interscope don’t know **** about music). The lyric booklet reads better than half the novels I’ve read whilst singularly relating to everything I’ve ever known. The Dismemberment Plan have managed to forge an album that is almost life changing. It surpasses any expectation I’ve had for modern rock music and shows how a touch of ingenuity and originality can go a long way. In the fray of the modern rock rip-off scene, ‘Emergency and I’ shines brighter than Johnny Borrell’s ego after an NME interview. This is how Rock music should be made.
other reviews of this album |
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I think I deserve at least one reply. :D
| | | To start off, good review. Keep writing reviews, this one was enjoyable.
Second, I've never even heard of this band, so they seem like one to watch out for, if your comments prove true ;). I haven't heard the album yet so I can't really judge on the rating, but it seems like 5/5 is too high. We generally reserve that for genre-defining albums, albums which could change your mind not only about the band, but about the genre itself. Consider the fact that these guys aren't exactly considered pinnacles of the genre, it is hard for me to believe it merits a 5/5. But it is true that plenty of brilliant albums slip through the cracks, so perhaps this one is a diamond in the rough. We shall see.
| | | [QUOTE=morrissey]To start off, good review. Keep writing reviews, this one was enjoyable.
Second, I've never even heard of this band, so they seem like one to watch out for, if your comments prove true ;). I haven't heard the album yet so I can't really judge on the rating, but it seems like 5/5 is too high. We generally reserve that for genre-defining albums, albums which could change your mind not only about the band, but about the genre itself. Consider the fact that these guys aren't exactly considered pinnacles of the genre, it is hard for me to believe it merits a 5/5. But it is true that plenty of brilliant albums slip through the cracks, so perhaps this one is a diamond in the rough. We shall see.[/QUOTE]
Cheers! To be honest this album is pure gold and can't really be called a pinnacle of the genre as they really drift inbetween alot of differant sounds. Their essentially Math Rock, but Indie is a more familiar term. Its also very accessible album, you have to trust me that this is worth 5/5. I'm a huge fan of Flaming Lips, Radiohead, Wilco, NMH etc. And never has a first listen of any of these artists albums grabbed me quite as much as "Emergency and I". Its almost flawless.
Secondly, they broke up in 2003, so I'm just trying to get them the attention they deserve. Thanks alot for replying, much appreciated.
:D
| | | I'm going to download this.
| | | So did you download and if so what did you think?
| | | this one grew on me. great stuff.
| | | Album Rating: 5.0
Incredible album from a hidden gem of the late 90s/early 00s. They are the kind of band that should and just very well may be considered a Velvet Underground, simply because of the fact that sound like nothing I've ever heard before. They draw from familiar styles (especially on this album) to create something that is wholly unique and great.
Morrissey, I agree with your assessment of awarding 5/5 reviews in general, but this album is an extremely special case. You are not going to find many people at all that have heard this album and would call it anything but "stellar" or "fantastic." It should be a landmark in a few years time.
| | | Album Rating: 4.5
This album is amazing, i wouldnt give it a 5 though, some really reaslly good songs, i eswpecially like the intro of memory machine.
The drusm and bass in all the songs are truly magnificent, nice review.
| | | I'm not sure if I would give this album a 5/5 yet, but it's not completely unfair to say it deserves one. Such a unique yet accessible sound, with brilliant production and songwriting. What do you want me to say... about it?
| | | Album Rating: 5.0
you will never hear another album like this.
Whether you like it or not is another thing, I personally love it.
Their style of rock is so unique though, definitely worth checking out. Shame they broke up.
| | | Album Rating: 4.0
Pretty great little album. It's amazing that more people haven't heard of it.
| | | Album Rating: 4.0
Great album. Vocals remind me of Maynard James Keenan in places.
| | | Album Rating: 5.0
Such an amazing record. I liked Is Terrified better, but they both remain among my favorites.
| | | Album Rating: 4.5
six years, thats nothing.
Lets see in 25.
| | | Album Rating: 5.0
I'm really loving this, but I usually find myself picking and choosing songs. There are some sure duds beside the gems.
| | | love this so much
| | | BUMPING TO A FIVE OMG THE ROOF IS ON FIRE
| | | kane gave it a 5 i should check this out...
| | | stole my name bitch
| | | Album Rating: 5.0
i take it back, there are no duds here, just awesomeness from start to finish
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