Indeed, the time that has passed since that infamous 10.0 Pitchfork review has seen the sparkle of excitement around ToD dull considerably. That's no one's fault, really; people tend to move on from bands, and bands tend to produce diminishing returns whether they intend to or not. The six albums that came after Source Tags & Codes weren't leagues worse than what came before; truth be told, I've found something to love on every record that's come from the band since. That said, it's really difficult to hold the interest of a public that's always looking for the next bandwagon to latch onto, and this has never been the kind of band that's interested in conforming anyway. A few sonic detours here, a few overblown statement records there and, before you know it, you've got a small but devoted fan base and not much else.
Which brings us to X: The Godless Void and Other Stories, a record that isn't concerned in the slightest with what's trending or what will earn them headlines. It's the sound of a band basically picking up where they left off five years ago, albeit with a sense of rejuvenation that's pretty much inevitable given the break.
The most striking trait of X is its accessibility; the songs on display here are top notch, driven and urgent in a way that hearkens back to the band's greatest moments. Much of this is due to Keely and Jason Reece's keen sense of melody; part of what made this band so remarkable during their rise was the way they could weave hooks through a cacophony of noise, and there are moments on this record that will remind longtime listeners of those peak years vividly. The hooks present rival anything they've put to record in the last decade or more, and the energy is palpable. Just try to listen to lead single Don't Look Down without taking a little of that chorus with you for the next day or thirty.
Of course, it's not a ToD record without a little meandering; Keely can't really help but go a bit prog in places on the second half, and it only partially works. The spoken word delivery in Who Haunts the Haunter isn't offensive by any stretch, but it isn't particularly pleasant either. Still, its chorus is massive and brings me back, so no harm no foul. Eyes of the Overworld, a two-minute interlude that doesn't offer much or go anywhere of sonic significance, only serves to slow the album's momentum; however, the gentle power of Gravity gets things back on track nicely.
The album ends on a surprisingly psychedelic tip, with Blade of Wind evoking a bit of The Beatles' more acid-soaked work before going a little overboard with effects in its closing two minutes. Through the Sunlit Door, meanwhile, brings us home on a flying carpet of percussion and effects-laden harmonic tones. The pair of tracks are sort of a curious end to what was a fairly straightforward rock album to that point, but if I'm being honest with myself this isn't all that shocking considering the band's recent history.
Even with the inevitable sidetracks and occasional missteps one should expect from Trail of Dead this deep into their discography, The Godless Void remains a thrilling record, and a welcome return. It's vibrant, loud and packed with the kind of songwriting that proves that all that initial hype wasn't unwarranted. Though it's not perfect, it's definitely good enough to put the detractors on blast and the fans on cloud nine.
January 17, 2020 • Dine Alone
Highlights All Who Wander • Something Like This • Don't Look Down
Highlights All Who Wander • Something Like This • Don't Look Down
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