The Crash That Took Me
By: Ric Hickey
After building the hypnotic hooks of “Through The Pattern And Out The Other Side” for a steady rollin’ three and a half minutes, the band lurches into an evil kaleidoscope groove. Heavy riff turns to dreamy pulsation as this track morphs seamlessly into the next. With a whiff of My Bloody Valentine and a hint of Robin Zander, the intro to “Patricia Lynn” explodes in a totally unexpected wash of sound.
Similar in attitude and energy to early Radiohead, The Crash That Took Me’s mature pop concepts are executed with both brute force and subtlety. A multitude of guitar tones from clean and snaky acoustic sounds to crunchy electric power chords blends cleverly with layers of mellotron and other vintage keyboard sounds. But it is the compelling vocals of Dylan Silvers and the brutal drumming of Eddie Thomas (former drummer of Black Tie Dynasty) that elevates The Crash That Took Me above the fray.
Soon to embark on a tour in support of the band’s ambitious new CD, The Crash That Took Me vocalist Dylan Silvers took the time to answer a few questions for Knowshi.
Hickey: Can you tell me about starting out in Ohio and what steps you took to get to where you are today?
DS: I started out in Ohio at age 6. I left when I was 14 and went to Springfield, Illinois, where me and my brother got in deep shit for setting our high school on fire. I did not start playing until I was 16, so Ohio for me was a lot of youthful growing pains, and fucking up a lot of shit. I made my way to Texas at 18 just in time to catch the tail end of a long successful wave of Dallas bands like the Toadies, Tripping Daisy, and Bed Head.
Started playing real club shows and I was touring all over by 19. I got thrown right into a shit storm, some of it was great some of it not so good. But I am at a wonderful place right now and without those experiences I would not be where I am today, happy and still playing music. At 19, I got to go back and tour all through Ohio and see my friends from high school.
Hickey: While encompassing high energy, fast tempos, pounding drums and high volume, your music still manages to maintain an artsy flow and layers of subtlety. How would you describe this balancing act of the edgy and the ethereal?
DS: Wonderful description of our new record!! I wanted the drums up front on this record, but melodically and vocally I still want to maintain something pretty and not too abrasive. So the songs can have an edge but still have beauty also. We reference Roller Skate Skinny and the Lilys a lot, both bands that also ride that edge, the constant battle for the love we have for the Beach Boys and My Bloody Valentine.
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