This review is part of a series looking back at significant albums on their anniversaries. Through the benefit of hindsight we will be viewing the album not just as it was released, but how it stands the test of time, as well as its place in the band’s discography and the genre in general.
Author’s note: I originally wrote this review for the Punknews’ 20 year retro reviews (albeit not on its official anniversary date). The review below is updated with new thoughts based on personal thoughts and conversations, as well as input the contemporaneous (and surprisingly un-trollish) discussions on the PN review itself.
Revelation Records – 30 Apr 1996
Keeps getting better with age
I was at a house party in 1996 when I first heard this album. I had just moved to Madison, WI and I honestly can’t recall if it was at the Reebosak house, or someone associated with that group of skaters. Anyhow, someone put this album on by a band called Texas Is The Reason and I thought to myself “hmmm… interesting name.” For the next 40 minutes I ignored the party completely. In fact, quite a lot of people there kind of just got into it.
That’s one of the defining and enduring qualities of Do You Know Who You Are?… its appeal transcends the genre and I’ve found few people, whose musical tastes range the entire spectrum of music, who haven’t enjoyed it. For many they recognize its genius immediately. For others it takes awhile for that. Others just enjoy it without ever falling completely in love with it. But a lot of people definitely like it. That’s one thing that has surprised me about this album is just how well accepted it is by music lovers of all flavors.
Formed out of the krishnacore scene by Chris Daly and former Shelter guitarist Norman Arenas/Brannon, Texas Is the Reason was in the vanguard of the rapidly growing emo-genre of the mid-90s. Along with several other notable bands, they were the forerunners in a wave of acts who oft-times eschewed their more punk rock or hardcore pasts in lieu of more personal songs featuring tuneful, and often whimsical, melodies. With the success of a single and two split 7″s under their belt, Texas released their highly-anticipated, and only, full-length album in April of 1996.
Do You Know Who You Are? is filed under emo, but is a far cry from the overwrought stylings normally associated with the later, mid-00s emo acts that succeeded them. From the first track, “Johnny on the Spot,” the listener is greeted with a solid sound that doesn’t strive to be overly loud or noisy. Garrett Klahn’s vocals are a bit reedy, not very “punk,” and are a prelude to emo-style vocals without all of the affected voice breaking or other traits which made emo either loved or hated by music lovers once it began to break into the mainstream in the following years.
Most songs on the album keep a fairly mild tempo but still manage to pack quite a bit of power behind them. “There’s No Way I Can Talk Myself Out of This One Tonight (The Drinking Song)” doesn’t break too fast but still buoys the listener with crescendos of guitars that roll in and out of the bassline which anchors the track. Backing vocals also keep in line with the song while Klahn weaves in an out of time to add a dramatic effect.
The instrumental title track “Do You Know Who You Are?” adds a brief intermission before “Back and to the Left”crashes with such strength as to knock you out of your seat. Undoubtedly the most forceful song of the album, it is an outlier in its unbridled aggression. Whereas every other song is intricately woven and finely polished, “Back…” pulls no punches and makes no apologies. To this day it remains one of my favorite tracks on the album.
“The Day’s Refrain,” the penultimate track on the album, is likely the closest to what most people would think of as emo. A gentle song comprising of wistful guitars and heartfelt lyrics, where even the big ending still comes off as tender and timid.
If that is the case, “Jack with One Eye,” the final track, comes in quietly and holds an almost surprisingly slow tempo throughout, all the while building in momentum and eventually taking the listener on a rollercoaster ride along crests and valleys, finally coming settling down into three sets of vocals, each starting slightly off from the others I time but so that by the third repetition they end up aligned. Slowly the song dwindles to nothing but the kick drum and a stuttering snare until it all stops.
And that was it for Texas Is the Reason. Amid the courtship of major labels, the band was falling apart internally and, after much strife, called it quits after their 1997 European tour. Members would go on to other acts, most notably Chris Daly went on to drum for Jets to Brazil, Blake Schwarzenbach’s follow-up act to Jawbreaker. Although the band has played several one-off shows for notable events or good causes, there appear to be no plans for a full-time reunion.
For now, we can enjoy the spark that Texas Is the Reason lit in the underground music scene. For many punks, indie rockers, and nascent emo kids; this band created a classic album that, twenty-five years on, still holds up. In many cases, it even surpasses its modern-day peers.
the white drew carey (aka – Jeff Sorley) is the founder and head editor of TGEFM. He’s lived (outside of) Chicago, Madison WI, (ugh) Penn State, Lyon FR, Oxford UK, central New Jersey, and now within earshot of SFO in the Bay Area. When not scouring the web for more great bands and labels to post about, he also spends time drawing (mostly) silly sci-fi and anime stuff under the name Asplenia Studios.
