Lift To Experience / Texas-Jerusalem Crossroads, The
| Album: | Texas-Jerusalem Crossroads, The | Collection: | General | |
| Artist: | Lift To Experience | Added: | Feb 2017 | |
| Label: | Mute Records | |||
A-File Activity
| Add Date: | 2017-07-12 | Pull Date: | 2017-09-12 |
|---|
| Week Ending: | Sep 3 | Aug 20 | Aug 13 | Aug 6 | Jul 30 | Jul 23 | Jul 16 |
|---|---|---|---|---|---|---|---|
| Airplays: | 1 | 1 | 2 | 1 | 3 | 3 | 1 |
Recent Airplay
| 1. | May 16, 2023: | Strum, Pick, and Thrash
Falling From Cloud 9 |
4. | Nov 02, 2019: | Being as an ocean
When We Shall Touch |
|
| 2. | May 12, 2022: | Stranded at Settembrini's
With Crippled Wings |
5. | Nov 29, 2018: | Being as an ocean
When We Shall Touch |
|
| 3. | Feb 22, 2020: | Being as an ocean
When We Shall Touch |
6. | Aug 30, 2017: | Brownian Motion
With Crippled Wings |
Album Review
DJ Away
Reviewed 2017-07-10
Reviewed 2017-07-10
New remix/-master/-issue of a forgotten 2001 post-rock classic. Imagine the members of Slint and Slowdive all grew up outside Dallas and formed a supergroup that released only one album—a 90-minute epic about the Second Coming taking place in the Lone Star state—and you’re halfway there. Outsized, beautiful, heavy head-banging rock ’n’ roll with strong religious and metafictional elements. This is one of the weirdest records I’ve ever heard (which is saying a lot), and it’s downright awe-inspiring but also a ton of fun. College radio exists for music like this. Favorites: 1-1, 1-3, 1-4, 1-5, 2-2. FCC WARNING: 1-2.
Disc 1
1. *(6:49)—Opens with narration, turns into post-hardcore bashout, then a moody post-rock breakdown. Builds, gets gorgeous and majestic. Big epic finish. RIYL Drive Like Jehu, Unwound, Moss Icon.
2. (5:45)—FCC (s***). Soft, spaced-out, lovely. Mournful cowboy gang vocals.
3. *(4:38)—The “pop” song, such as it is. Medium-slow, grand shoegaze. You can draw a line from this to Deafheaven’s “Dream House.”
4. *(10:13)—Slow, moody beginning. Builds into a trippy headbanger halfway. Jazzy dream-pop elements. Pretty, soft outro.
5. *(5:25)—Medium-slow shoegaze/post-rock bashout. The band enters the narrative and makes a deal with the Lord: they’ll tell the world about the Texas-Jerusalem Crossoads if the Lord gives them a hit song.
6. (7:09)—Droning fiddle. Big, jet-engine-like build. Cowboy chorus. Long, intense outro.
Disc 2
1. (8:45)—Mid-tempo, upbeat, galloping rock. “We’re simply the best band in the whole damn land.” Long, slightly jazzy outro with horse-hoof sounds.
2. *(4:25)—Lush intro guitar. Long quotation from Book XI of Paradise Lost as the music builds. Triumphant finish.
3. (6:47)—BORDERLINE FCC (“couldn’t give a horse’s ass either way”). Mid-tempo. Doomy Western song featuring acoustic guitar strumming and fiddle.
4. (5:29)—Slow. Scorched-earth solo guitar intro with tremolo-heavy vocals. Gradually builds to two group choruses.
5. (29:05)—Mid-tempo, doomy, swaggery, rocking in a laid-back way. Gets soft, the jumps suddenly back to life. Handclaps, gang choruses. Gentle finish. Silence at 10:00/-19:00; there’s a hidden Godspeed-esque track at 24:15/-4:45 with lots of tom rolls.
Disc 1
1. *(6:49)—Opens with narration, turns into post-hardcore bashout, then a moody post-rock breakdown. Builds, gets gorgeous and majestic. Big epic finish. RIYL Drive Like Jehu, Unwound, Moss Icon.
2. (5:45)—FCC (s***). Soft, spaced-out, lovely. Mournful cowboy gang vocals.
3. *(4:38)—The “pop” song, such as it is. Medium-slow, grand shoegaze. You can draw a line from this to Deafheaven’s “Dream House.”
4. *(10:13)—Slow, moody beginning. Builds into a trippy headbanger halfway. Jazzy dream-pop elements. Pretty, soft outro.
5. *(5:25)—Medium-slow shoegaze/post-rock bashout. The band enters the narrative and makes a deal with the Lord: they’ll tell the world about the Texas-Jerusalem Crossoads if the Lord gives them a hit song.
6. (7:09)—Droning fiddle. Big, jet-engine-like build. Cowboy chorus. Long, intense outro.
Disc 2
1. (8:45)—Mid-tempo, upbeat, galloping rock. “We’re simply the best band in the whole damn land.” Long, slightly jazzy outro with horse-hoof sounds.
2. *(4:25)—Lush intro guitar. Long quotation from Book XI of Paradise Lost as the music builds. Triumphant finish.
3. (6:47)—BORDERLINE FCC (“couldn’t give a horse’s ass either way”). Mid-tempo. Doomy Western song featuring acoustic guitar strumming and fiddle.
4. (5:29)—Slow. Scorched-earth solo guitar intro with tremolo-heavy vocals. Gradually builds to two group choruses.
5. (29:05)—Mid-tempo, doomy, swaggery, rocking in a laid-back way. Gets soft, the jumps suddenly back to life. Handclaps, gang choruses. Gentle finish. Silence at 10:00/-19:00; there’s a hidden Godspeed-esque track at 24:15/-4:45 with lots of tom rolls.
Track Listing