When I think of Monotreme Records, I think of post-rock abundance by way of This Will Destroy You, 65daysofstatic and Barzin. ¬†So, when I decided to give Trophy Scars a try, the immediate blues noodling a la Stevie Ray Vaughn threw me off. ¬†Was Monotreme under new management?
About 2 minutes into Hagiophobia, though, the blues scale morphs into an otherworldly, genre-defying, paint-peeling tornado of sound, shrieking and pounding until it fades into the repetitive lyric “Pray, pray, pray till the end of the night”. ¬†Most of the blues I’ve heard¬†revolves around the gospel, but this track¬†is Old Testament…wrath, gnashing of teeth and blood smeared on your front door. ¬†And locusts. ¬†Lots of locusts.
Pressing of 950: 250 black, 700 'crystal clear with blue and black'. 180 gm double gatefold with reverse board sleeve. All include a free poster and a free album CD in a printed card wallet. Also a free sticker and pin whilst supplies last.
Holy Vacants, the fourth album from Trophy Scars, sees the New Jersey quartet deliver their magnum opus as they continue to evolve their sound.
The album was initially worked up as a 35-page screenplay by vocalist/lyricist Jerry Jones and is even more ambitious than 2011's Never Born Never Dead, which took reincarnation as its theme. Holy Vacants uses as its springboard a bizarre cocktail of mythology, ancient religion, and conspiracy theory surrounding the Nephilitic gene. The album revolves around Jones's tale of two lovers who have discovered not only that the blood of angels contains the fountain of youth, but also the formula for Qeres. This ancient Egyptian perfume is claimed to be the only substance that can kill angels and Nephilites, who are the supposed offspring of angel/human unions. Armed with this knowledge, the couple embark on a killing spree, drinking spilled Nephilitic blood to stop growing old.
The narrative may be conceptually out-there, but it doesn‚Äôt fence the album in and stands as a metaphor for far simpler and more widely recognized issues ‚Äď the idealization of youth, loss of identity and corrupted innocence. It‚Äôs also Jones‚Äô personal way of drawing a line under an intense past relationship: ‚ÄúThe album was about being so in love with somebody that they literally destroy you,‚ÄĚ he explains. ‚ÄúI had to write the album as a way of exorcising this person from my mind and soul. I wanted a Bonnie and Clyde-type story, because I‚Äôve always loved that. There‚Äôs something beautiful about the idea of rebelling together against something and losing yourself in the rebellion to the extent that it destroys your life. It‚Äôs the doomed romanticism thing.‚ÄĚ
Holy Vacants was intended the band‚Äôs final album , but instead constitutes a complete rebirth. ‚ÄúI thought we had one more record in us and we wanted to go out with a bang‚ÄĚ, says Jones. Guitarist Ferrara, who Jones calls ‚Äúan unbelievable composer‚ÄĚ, sent the singer some bare-bones riffs and he found himself connecting with them immediately, hearing how they might work with strings here, a Moog and organ, maybe some brass and an all-girl choir there. And listening to the likes of opener Archangel and Qeres, with its free-wheeling but complex and cathartic, psychedelic blues, it‚Äôs obvious the band have moved light years away from their post-hardcore early years. They reveal their admiration for fellow New Jersey son Springsteen, circa Darkness on the Edge of Town with Crystallophobia, Everything Disappearing and Extant, and for Jimi Hendrix via Hagiophobia, while elsewhere there are echoes of Guns N‚Äô Roses and The Mars Volta. But what might sound like an unworkable agglomeration of disparate parts is an intense and cohesive, hugely compelling whole, with powerful contrasts that make for a visceral immediacy.
Ferrara‚Äôs skill at laying out the panoramic sonic picture and his mastery of dynamic builds, plus Jones‚Äô love of graphic novels and comics, the work of David Lynch and TV series like ‚ÄėThe Wire‚Äô (one episode of which suggested the album‚Äôs title) are equally responsible for the record‚Äôs impact.
‚ÄúThe making of this record opened a whole new door, in all of our minds,‚ÄĚ Jones enthuses. ‚ÄúWhen we started doing all the pre-production on Holy Vacants, we realized how much more we had to investigate in ourselves and what we were capable of.‚ÄĚ
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