The Pointer UW-Stevens Point Student Newspaper
Courtesy of pitchfork.com
Taking its name from the notorious first tragedy by William Shakespeare, punk, indie band, Titus Andronicus wholly augmented Shakespeare’s title into its outfit for its fourth studio album.
“The Most Lamentable Tragedy,” released in July 2015, is the most recent and perhaps the most ambitious album by these New Jersey rockers. Much anticipated and seated favorably in the ears of listeners, this album has received both critical and fanatical praise.
The first track, “The Angry Hour,” is more of an introduction to the second song. Track two, “No Future Part IV: No Future Triumphant,” casts the beginning of this album into a frenzied tussle that plunges headfirst and buck naked into a 93-minute brawl.
We see again the motif of the “No Future” songs dating back to its debut album, “The Airing of Grievances.” “No Future Part IV: No Future Triumphant” is an excellent song because it blends accessibility with many rich hallmark-elements of this band and helps the listener to sample and gauge the vibes unique to this album and awaiting within.
This 93-minute, 29-track, “rock opera” has many themes that have come to be seen as tenets within the works by Titus Andronicus.
The staple themes of philosophy, allusions to literature and “high art” are cocktailed with the lyrical meditations of Patrick Stickles. The meditations, dwelling on mental illness and broad-stroked psychology, lay familiar foundations for this album.
In addition to these contrasting ideas, we are also presented with two covers songs. “I Have Lost My Mind (DJ)” is one of the said covers being from the self-proclaimed neurotic himself, Daniel Johnston.
There is also an emphasis on wavering self-identity and the equivocal methods of coping with such. There are many songs that merit analysis, but for sake of context, it is best to experience this album holistically and congruently.
Barring aversion to the pretentious glance that occasionally stifles potential fans, this album is an absolutely fantastic addition to the discography of the band and to the genres of indie and punk rock. It embraces everything it stands for and will reward those seeking to discover a richer listening experience by choosing to look for it.
A thirst for potent musical and lyrical energy, fuzzily distorted guitars remnant of Elephant 6 collective bands, saxophones winking at Springsteen and philosophically self-lamenting lyrics will be quenched with this album.
Jacob Karski
Contributor
jkars087@uwsp.edu
