IN REVIEW: Titus Andronicus - "The Most Lamentable Tragedy"

"In the depth of winter, I finally learned that within me there lay an invincible summer."

-Albert Camus

It may seem a little strange for this review to be headed by an Albert Camus quote, but I swear it's a quote that speaks volumes in the context of this sprawling behemoth of a record, even though it isn't directly quoted anywhere on it and despite the fact that the band has made references to Camus as far back on their first record. The Most Lamentable Tragedy (hereafter TMLT) is just so effective in its story and enthralling in its execution that, after a few proper listens (accompanied by the group's excellent, meticulous Genius annotations on my last run, an experience I highly recommend), that Camus quote hit with force and purpose.

We can (and should) talk about the music, which finds Titus Andronicus (hereafter +@) balancing the grand vision of the rock opera and all the extracurricular sound adventures that entails with a steadfast allegiance to their punk and indie rock roots; a number of guests assist in stretching the core sound when called for, though perhaps the most striking departures occur when singer/songwriter Patrick Stickles strips the sound to its raw essence. Stable Boy, the last full song on the record, features merely Stickles and a chord organ (recorded to cassette, just like the beginning of the first song on their first album, marking TMLT as the clear closing of a chapter if not a career) and is jaw-dropping amazing and highly rewarding if you've invested yourself in the story, which I assure you we'll get to.

Through the album's five acts, the moods ebb and flow, running an impressive gamut over the course of its hour and a half. Act I takes a turn toward classic rock (such as on the excellent Lonely Boy), Act II is the most aggressive, fastest set (as evidenced by lead single Dimed Out), Act III balances hardcore punk with droning psych-rock and glam (culminating in the celebratory Fatal Flaw), Act IV is an Irish-inspired suite that features the Celtic disco (yes, really) of Come On, Siobhán and a loose and nimble cover of The Pogues' A Pair of Brown Eyes, and Act V rages itself to the point of exhaustion with Into the Void (Filler) before a final twelve minutes of quiet reflection.

There are too many influences and tributes present to tackle here, though I must admit that I was repeatedly reminded of Fucked Up, especially their epic rock opera David Comes to Life. Too many parallels exist between these two records to presume that David Comes to Life had no effect on the creation of TMLT; the frequent droning sections that separate movements, the grand concepts, the cyclical nature (both ending on the same note they started with) and the reverence for little known, highly influential punk and hardcore bands. I won't accuse +@ of trying to steal anyone's thunder, though, and if I'm being completely honest I've hungered for another record as dense and uncompromising in its vision as David Comes to Life for the better part of the last four years.

What truly separates TMLT from not just other rock operas but other records in general is the clarity and inclusiveness of its storytelling. At the surface, it seems confusing, what with anxiety, authority figures, doppelgangers, beautiful Irish lasses and chord organ. However, in truth it's a very accessible and inviting narrative, one that's willing to give only as much meaning as you want to take from it. It's an intensely personal account of mental instability and its potentially fatal effects, but it's one most any of us can identify with on some level. Our Hero goes through a few pretty specific capers, but its overarching themes of seclusion, doubt, love, loss and redemption are universal. There are references to religion, politics, the environment, Seinfleld and a host of other subjects if you're willing to dig deep, but chances are something of worth can be mined from even a cursory scrape of the surface.

I can keep talking about this record; hell, I want to, and I think that tells you all you need to know about its diversity and substance. TMLT is a treasure trove for fans of +@, and as good a place as any to start for initiates. It's a thought provoking, endlessly rewarding record that rocks hard when it needs the energy and immerses you in ambiance when you need a break. Perhaps most tellingly, it's a 93 minute record that feels like it was worth every second (even the two silent tracks, at 77 and 7 seconds respectively). 

It's not without its flaws, but it's proudly imperfect. More importantly it, like its protagonist, takes a long and unflinching look at the darkness before choosing the light. The inhaled breath that closes the record signifies that Our Hero is about to do it all again and, in what I suppose may be the most glowing compliment I can bestow upon TMLT, I want to do it all again too.

July 28, 2015 • Merge

Highlights Lonely Boy • Dimed Out • Fatal Flaw