Crosstide - Seventeen Nautical Miles

by Benjamin Howarth

published: 7 / 8 / 2002

Label: Ignition Records
Format: CD

Debut full-length melancholic emo release from the potentially influential Crosstide

Review

After the surprising rise to the mainstream of Rival Schools, Jimmy Eat World and Hundred Reasons a lot of attention has been given in the mainstream music press to emo. The funny thing is that those bands that have become famous claim not be emo at all. The word has become a term of abuse in some quarters of the punk scene, which is a shame because the term emo is in my opinion a useful word to describe a band whose music comes from a hardcore or punk band but which has embraced not only a more uplifting sound, but also a more mature attitude. Emo bands have rejected the naïve radical politics of hardcore and the immature machismo of pop punk in favour of a warm-hearted dedication to their fans, and a willingness to embrace not only drinkers and smokers but also women. The love of classic hardcore is still evident but is augmented by influences from indie-rock. The three bands I have mentioned above have helped bring this scene into the mainstream, but others still work hard to keep the emo spirit alive. Few could be cited as better example of this emo spirit then Crosstide. The band released a split with One Last Thing on the Ignition label last year but this is their first full-length release. I’ve little doubt that Crosstide have the potential to become one of the more influential groups on the planet. The package as a whole is gorgeously presented; with an attention to detail and the sort of understatement that implies those involved have impeccable taste. It only helps to draw one’s attention to the music found within. The album begins with a drumbeat and a gently played guitar line, reminiscent of many great emo bands. This continues for over a minute before the bass and the vocals join in. Vocalist Bret Vogel is clearly talented, and sounds similar to Jonah Matranga at times, with a similar gentle vocal style and the occasional use of a falsetto.Thankfully, he doesn’t resort to ripping of Thom Yorke or Jeff Buckley; rather he has developed his own style. With a vocalist as good as this, it is hard not to enjoy the music, but the band have every reason to be praised on other grounds as well . Matt Henderson only drums on half the LP but his contribution is fantastic and his dense style bears comparison with Chuck Walker of Chamberlain (and when you hear that Chuck Walker is my favourite ever drummer, you shouldget the idea that I’m quite a fan!). The band as a whole gel nicely and the production is able to draw the instrumentation together nicely around each song. Those who enjoy a raw sound won’t necessarily be disappointed, but it is clear that the band are focused towards songs rather than demonstrating their own individual abilities. Crosstide’s main strength, however, is their songwriting. Their melodies are engaging and original. Thankfully this means that they avoid the pitfalls of having too little variation. Instead, whilst the band tends to play melancholic emo rock on every track – often a recipe for disaster and total boredom – the songs are all distinctive. The strong melodies and powerful musicianship is enough to maintain interest throughout the ten tracks. When the band does introduce pianos and harmonicas into their sound they remain cliché free, and are instead used only as a worthwhile augmentation to the song. The result is a band that sound sure of themselves, but, which, whilst completely competent, aren’t showing off. That makes for a refreshing change and this is an album you’ll go back to time and time again.