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Do You Know Who Are?
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Do You Know Who Are?
Current price: $19.99
Barnes and Noble
Do You Know Who Are?
Current price: $19.99
Size: CD
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Commonly referred to as one of the standards for the
emocore
movement of the '90s,
Texas Is the Reason
's
Do You Know Who You Are?
-- which was the last thing said to
John Lennon
before he died -- is the bedrock to this New York City four-piece's short-lived career. Produced by the very talented
J. Robbins
, the vocal style of singer
Garrett Klahn
sounds something akin to
Richard Marx
doing
indie rock
. Whether that view is received with smiling nods or disapproving stares, the fact remains that
Klahn
's unique angle of nasally sung vocals was warm enough to draw one in, while not being overbearing to the point of annoyance. With a musical background in various
hardcore
acts, the guitars break between melodic beauty and low-end chugga-chugga while the drums drive along with blasting consistency and precision. Stark phrases about life's loneliness and the dissonance between friends and lovers create a lyrical atmosphere that invites tremendous one-liners and memorable songs. The title track shows
in an abyss of harmonic composure, providing a chance for the listener to catch his or her breath before plunging back into the melodic, enthusiastic rush of
"Back and to the Left."
While neither as harsh as many of their
predecessors, nor as technical as their counterparts from Washington, D.C., nor as
poppy
as many of the
emo
bands to come after them, but instead taking a bit from each,
provided the
scene with a combination of all the elements that it took to produce a quality
record. For these reasons,
stands as one of the necessary albums for fans of
. ~ Kurt Morris
emocore
movement of the '90s,
Texas Is the Reason
's
Do You Know Who You Are?
-- which was the last thing said to
John Lennon
before he died -- is the bedrock to this New York City four-piece's short-lived career. Produced by the very talented
J. Robbins
, the vocal style of singer
Garrett Klahn
sounds something akin to
Richard Marx
doing
indie rock
. Whether that view is received with smiling nods or disapproving stares, the fact remains that
Klahn
's unique angle of nasally sung vocals was warm enough to draw one in, while not being overbearing to the point of annoyance. With a musical background in various
hardcore
acts, the guitars break between melodic beauty and low-end chugga-chugga while the drums drive along with blasting consistency and precision. Stark phrases about life's loneliness and the dissonance between friends and lovers create a lyrical atmosphere that invites tremendous one-liners and memorable songs. The title track shows
in an abyss of harmonic composure, providing a chance for the listener to catch his or her breath before plunging back into the melodic, enthusiastic rush of
"Back and to the Left."
While neither as harsh as many of their
predecessors, nor as technical as their counterparts from Washington, D.C., nor as
poppy
as many of the
emo
bands to come after them, but instead taking a bit from each,
provided the
scene with a combination of all the elements that it took to produce a quality
record. For these reasons,
stands as one of the necessary albums for fans of
. ~ Kurt Morris