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Source Tags & Codes

4.3 out of 5 stars 136 customer reviews

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Editorial Reviews

Product Description

And You Will Know Us ~ Source Tags & 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 Maerz
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Product Details

  • Audio CD (February 26, 2002)
  • Number of Discs: 1
  • Label: Interscope Records
  • ASIN: B00005YW51
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (136 customer reviews)
  • Amazon Best Sellers Rank: #131,000 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: Audio CD
I had heard before I listened to "source tags & codes" that it was a loud album, but eve after being forewarned I found my head snapping back at what I heard when I threw it in my stereo. As someone who regularly listens to grindcore, I know loud, and this album leaps out of your speakers with a sheer volume that's hard to match in any genre. Right from the first fierce howl by Conrad Keely, backed by a pummeling wall of guitars, on the opening "It Was There That I Saw You," I knew I was in for a scintillating ride, and this album didn't disappoint from there on out.

It's easy to be hooked right away by how freakin' loud "source tags & codes" is, but that's only a part of what makes it such a great album. After the initial adrenalin rush had faded and I was done banging my head, I started to notice just how much craftsmanship went into these songs. I've heard some comparisons to Sonic Youth, and those certainly aren't far off base, as the dual guitar interplay, flailing drum assaults, and extended instrumental passages that characterized such Youth classics as "Daydream Nation" are very much in evidence here. However, it would be a tad too simplistic to write these guys off an SY clone, for AYWKUBTTOD distinguish themselves from their forebears with leaner songwriting and a much more ferocious overall approach.

While there are some peaceful, even pretty moments on "source tags and codes," they serve mainly to provide a foil for the sonic onslaught that's more often on display. After the hard-pounding rush of the opener, things get even better with the awe-inspiring "Another Morning Stoner," which augments the band's destructive guitar sound with the kind of enormous, towering melody that can bounce around in your head for days.
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Format: Audio CD
When I was 17, I discovered Source Tags & Code almost accidentally. I think I stumbled across it while trying to get into At the Drive-In (which never happened), the band who a lot of people say the Trail of Dead owe their sound. Very shortly after that, I started to smoke pot. The two things are completely unrelated except for the fact that this became my favorite album to listen to when high, and I listened to this album almost everyday for more than a year. It seemed to embody everything I felt and looking back, it really seems to define that whole era for me. I remember listening to it and worrying what exactly I wanted to major in in college - which I imagined would shape the whole future of my life. I remember listening to this for perhaps the 79th time, while particularly baked, and outlining a review for this album in which I explained how it was a brilliantly subtle concept album with a story arc describing the ego of any and every teen in America (I won't get into it, but I still somewhat believe it), and wondering why it wasn't the most popular album in the country, and stating for sure that it would be remembered as ahead of it's time.

"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...
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Format: Audio CD
I was very nervous when i first heard ..And You Will Know Us by the Trail of Dead's new album, Source Tags and Codes. After a stellar second album, Madonna, i expected TOD to stay on Merge records and make another indie album. But when i found out that they had signed on to Interscope Records, i was shocked. I could see them guest appearing in Limp Bizkit videos, and having Fred Durst bust some rhymes for the chorus of their new hit single,"Da Partee iz Lyve!". I expected a failure.
How wrong i was.
I cannot even begin to tell you how stellar this album really is. The dense orchestration, layering of sound, and the overall skill and passion of Conrad Keely, Jason Reece, Neil Busch, and Kevin Allen, makes for one of the most engaging and emotionally draining albums i have ever experienced. Here's a track-by-track review of the album.
1. It Was There That I Saw You
A friend told me that he thought this song was too emo. How can a song be classified as emo when a string section and timpanies are present, to add to Conrad Keely's(he wrote this one) much improved vocal stylings. The beautiful soft mileu to this song, combined with the ravaging guitars that bookend this song, make it a classic. 5/5
2. Another Morning Stoner
The First Sign of the fantastic riffs that will come out of this album first appear in this song. A whirling, brooding piece that ends with the call-response shout, "What is Forgiveness\ it's just a dream\ what is forgiveness\ it's everything." Fantastic. 4.5/5
3. Baudelaire
Wow. Bassist Neil Busch's songwriting has come a long, long way. This on, curiously named after a French 1800's poet, has a great stuttering, recurring riff, and some killer bass drum stomping sound. One of my favorites. 5/5
4.
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