Walt Disney is pushing social and sexual hierarchy & Willy Wonka was a capitalist confidence trickster

 

MILLION DEAD weren't what you would call a well-known band. Their debut album "A Song to Ruin" has 387 votes on "Rate your Music", 20 years after being released. And most of these votes probably occured after their lead singer FRANK TURNER became succesful as a solo artist. Part of MILLION DEAD's fate as a "sleeper" might also be due to their heritage, cause they hailed from London, UK. And, as you know, european bands have it hard to make it in the U.S., most of the times. Quality-wise MILLION DEAD's first album "A Song to Ruin" would've deserved everything, cause it's one of the best Post-Hardcore-records of the decade...

The sole reason why I discovered their record back in 2003 (or 2004?) was my obsession with AT THE DRIVE-IN. I basically hunted down everything that got slightly compared to them. And MILLION DEAD got an "AT THE DRIVE-IN"-reference in my favorite Mailorder. Because I was in my phase of collecting like an idiot and spending every penny I earned on records, I ordered "A Song to Ruin" short-handedly... and the rest is history.

It immediately struck a nerve with me. To a surprise, cause most other british Postcore-acts at the time -like HELL IS FOR HEROES, FUNERAL FOR A FRIEND or HUNDRED REASONS- left me cold. MILLION DEAD indeed reminded me of AT THE DRIVE-IN, maybe a more straight, Pop-Punk-ish, but also more play- and youtful version of them. I wouldn't categorize them as "Mathrock" or something like that, yet their guitar work was quite imaginative and, yeah, playful. I'm sure they left a mark on Britain's Post-Hardcore in the years to come, at least lots of others artists of the decade, 'til the early 2010s took something from them. Most of them forgotten -also by myslef-, but I'd name acts like MEET ME IN ST. LOUIS or BLAKFISH (or their successing band &U&I). 

FRANK TURNER already proved his great talent, as a remarkable and moving singer/screamer as well as an extraordinary lyricist. I'm having a hard time, pointing out the upsites he gave to this record, cause I don't want to talk down the music. His combatants were awesome and damn, the songwriting is unfuckable with. "A Song to Ruin" really was a team effort and everyone of the four musicians excelled with these recordings. Though TURNER's distinctive voice and his creative, cynical, honest and downright upfront lyrics made the difference between a superb record and a classic.

Throwing song titles around is pretty ridiculous, as the record has no flaws, the band held their level of intensity and excellence throughout. Tho, the first half definitely is better than the second, at least in my books. They open it up with four evergreens back to back, namely "Pornography for Cowards", "Breaking the Back", "I am the Party" and my absolute favorite MILLION DEAD-song "Charlie and the Propaganda Myth Machine". Then they throw in the title track, which is the only slower and longer song on the record (up to the closer). It's a strong track on its own, but they made the right decision to leave it at one Midtempo-track, cause the flow of the album would've suffered otherwise. They pick things up again with another classic in "Smiling at Strangers in Trains" and don't let got until the 14-minute-long-epic-as-fuck-closer "The Rise and Fall", that transforms itself into a Post-Rock-jerk-off after three minutes. Yet, a really cool and moody one, I must say.

"A Song to Ruin" is one of the best records in a strong year of music and among my favorites in the whole decade. If you have slept on it, do yourself a favor and get into it! It's UK's "Relationship of Command", no doubt.