ph by AboveTheDarkSky
When I met you and I fell away again
Like a train in reverse down a dark road
Carrying the whole load
Just rattling the whole way home
Have you fixed your eyes to the wind?
Will you let it pull you in again on the way back in?
I’m a bit run down here at the moment
Let me think about it, babe
Let me hold youThere’s a cold wind blowing down my old road
Down the backstreets where the pines grow
As the river splits the undertows
But I’d be lying to myself if I said I didn’t mind
Leave it hanging on the line, lost inside my heads
Is this the way I’ll be denied, again?
So I’ll set my eyes to the wind
But it won’t be easy to leave it all again
Just a bit rundown here ?
There’s just a stranger living in meAs you set your eyes to the wind
And you see me pull away again
Haven’t lost it on a friend
I’m just bit run down here at the moment
Yeah, I’m all alone here, living in darkness
The War On Drugs
Adam Granduciel , David Hartley, Robbie Bennett
Philadelphia’s The War on Drugs reside at the blurred edges of American music: overexposing studio limitations, piling tape upon tape to maximum density, and then — with each song — they pull off the scaffolding to reveal what sticks, keeping only what’s absolutely necessary and dig into what sounds like the best kind of fucked up. As on their 2008 debut, Wagonwheel Blues, central member Adam Granduciel takes small moments occurring over multiple tapes and multiple song versions, and puts every last drop of trust in his own keen instinct of momentum.
That’s not to overshadow the sharp, personal songwriting at play here. There are certainly cues taken from our very best American bards (Dylan, Petty, Springsteen). Yet, The War on Drugs are wise enough to also implode those cues or send themselves into outer space when the moment calls for it. The driving organ riff that pushes “Baby Missiles,” from the band’s 2010 epic EP Future Weather, may well be inspired by a fever dream of Springsteen rather than any particular song in his catalogue. And the endless layers of guitar melody and atmospherics of “Comin’ Through,” also from Future Weather, rather than add weight to the vessel, only work to fill its sails with warmer and warmer winds.