Split Personalities

Hey AOTY,

I hope you are well, for those who noticed that I was not publishing reviews anymore and that I was more discreet, I would like to tell you that indeed I don't have too much time nor motivation to write right now, but I hope it will come back, because I miss AOTY, in any case, don't worry, I'm fine !
I'll try to be more available to answer or discuss music soon, so don't hesitate to come and chat on the shootbox, and sorry to all those who wrote me since and that I couldn't answer. Your support has always been a gift and I will never forget it.

Here is my work for Spectrum on 12 Rods, hope you like it (please click on the link to give me strength, even if the whole review is here) :

Review //

At the end of the ‘90s, the rock scene started to sweat in front of the power of electronic movements, such as trip hop, downtempo, big beat, IDM, house and many others. Many artists and bands were swept up in this electronica—think Radiohead preparing to paint Kid A as a sharp detour from the guitar-oriented OK Computer. This musical trend grew so much that it naturally generated some pushback, rekindling the flame of indie rock and post-punk revival. In this way, 12 Rods’ Split Personalities was ahead of its time, an absolutely unstoppable album released in the middle of a troubled period, channeling all the college and alt-rock energy of the ‘90s to set up a large part of the new movements that we find in the 2000s. If the major label debut by this relatively unknown band would have been released in the early days of the new millennium, it may have received a better popular reception.

The Ohio natives labored in obscurity in the early ‘90s, and after independently releasing first album, Bliss, the band moved closer to Minneapolis for more visibility. There, they gained recognition for their critically acclaimed 1996 EP gay?. Their fanbase then waited desperately for the release of their first major-label album. Their 1998 release, Split Personalities, built up the kind of buzz that could be the envy of more popular bands.

Throughout the album, 12 Rods navigates between power pop, shoegaze, indie rock/pop, dream pop and prog pop to offer 10 breathtaking songs. The technical, emotional and sonic richness are on display from the eponymous opening track, in a violent statement weaving the fierce personalities of its creators. The rhythmic section is in constant mutation, guided by a pastoral synthesizer/organ. The turn of a devastating guitar speaks its anger, before giving way to the authoritative vocals of the leader Ryan Olcott. The band takes care to make its wall of sound a real fresco that comes alive little by little. Each chord evolves to leave room for surprise, and even when they seem to find their final formula, we are never safe from a twist. In fact, 12 Rods makes the daring bet of revisiting and modernizing their iconic song “Red”—first featured on the gay? EP. The ‘98 version softens the edges of the original to give it a freshness and a much more pronounced emotion. It was already an exceptional song, and this second version plays the role of alter ego without taking the place of its forebear.

In fact, on their first major-label release, the band revisits three of their previous works, with “I Am Faster” dating back to their independent debut or “Make-Out Music” from gay? EP, to add more polish. The rendering of the vocals and the melodies of Olcott transform these songs from a beginner sound to that of a seasoned performer. But it’s not simply a higher fidelity recording that gives these songs more impact but the change in approach by the band itself, delivering these emotions more purely and intensely. Considering this release would be an introduction for many to this band, it would have been a missed opportunity not to reintroduce these three gems.

In addition to the musical prowess, Split Personalities is also compelling because of Olcott’s endearing and heartbreaking songwriting. Several times during the album, he tries to externalize his loneliness, his experiences, his discomfort and his sorrows as a homosexual person at a time when it was even more difficult to assert one’s authentic identity. On the splendid ballad “I Wish You Were a Girl,” Olcott seems to be ashamed of his sexual orientation in front of others’ eyes. On the thunderous and explosive “Chromatically Declining Me,” Olcott further emphasizes being an outsider in society, forcing him to doubt himself as he chants “It’s so hard to wake up/ When your mind and body aches/ And your dick’s in your hand/ You begin to count with your fingers about.”

The song resounds between industrial rock and techno with the paces of the club, while relaying the anguish of its author. This uncertainty often pushes him to grow the point in a furious way: “America’s number one statistical faux pas.” Olcott’s sexuality often remains the main thematic point, using provocation and exaggeration to express his differences and his traumas. All this reaches its climax on “The Stupidest Boy,” when he makes us understand that “pain is good if I had understood/ Stuck with weight that’s hard to hide.” With a heart full of dreams, Olcott begins to hope on the languid and seductive “Lovewaves” for a perfect future, far from torment.

This album is both a cry for help and a passionate declaration. The poignant narratives that make up the record, combined with the flawless musicianship, push the listener to empathize with the artist whatever their orientation. It is also a strong message to the LGBTQ community, a powerful symbol for people who suffer from judgment and hatred. Even if Western society has evolved somewhat in the interim, this album released 24 years ago still resounds as an open wound.

https://spectrumculture.com/2022/06/13/rediscover-12-rods-split-personalities/