Trust Company Dreaming In Black And White Album Review
By: A. Estes
As quickly as TRUSTcompany were thrust into the spotlight, they seemed to disappear even quicker. After making a significant splash with their 2002 Geffen debut, â€œThe Lonely Position of Neutral,â€ the band landed high-profile gigs and heavy rotation on MTV and rock radio alike. Sadly, things didnâ€™t pan out so well in the years to come. 2005 saw the release of their second album, â€œTrue Parallels,â€ after being shelved by the label for a year. The album was more or less dumped into stores with little to no support. As a result, TRUSTcompany went quietly into that good night later that year. A few years went by, and after cooler heads prevailed, the band reunited in 2007, self-funded and without the burden of a major label. The fruit of their reunion, the long-awaited â€œDreaming in Black and White,â€ available in 2011, finds the band barely missing a beat.
The first thing youâ€™ll notice upon listening to this album is just how good it sounds. The production (done by Chuck Alzakian) is top-notch and truly captures the spirit of the band. If any criticism could be laid on either of the previous albums, itâ€™s that they were a bit overproduced and homogenized. For the first time, TRUSTcompany sound exactly as they should, with the dual fret-work of James Fukai and frontman Kevin Palmer at the forefront supported by a bombastic rhythm section (including yet another new bassist, Wes Cobb) that will no doubt dominate the most expensive and elaborate soundsystems as well as the cheapest and tiniest earbuds. To put it bluntly, this is the first TRUSTcompany record with balls.
The album opens with the rocking â€œClose Your Eyes (â€˜til itâ€™s Over)â€ which is 100% pure TRUSTcompany. Everything that made the band who they were remains intact and they have never sounded this fresh and energized. Later cuts such as â€œReverse and Rememberâ€ and â€œAlmost Thereâ€ â€“ the latter of which features an uncharacteristic but utterly cool guitar solo â€“ expand upon whatâ€™s already been heard while still staying true to the bandâ€™s core sound. The title track along with the albumâ€™s first single, â€œHeart in My Hands,â€ are the obvious singles without being too obvious in their composition. Here we have classic TRUSTcompany tracks that show the band hasnâ€™t lost their edge creatively or commercially. Unfortunately, the album falls short of perfection with the inclusion of a few duds. The bandâ€™s tendency to dip into sappy power-ballad cheese the likes of â€œLetting Goâ€ and â€œAlone Againâ€ doesnâ€™t do their comeback any favors and sound like the sort of stuff the bandâ€™s previous label would have forced their hand in writing. These moments would surely have been better left on the cutting room floor and the album as a whole would have been the better for it.
Aside from a few minor kinks, â€œDreaming in Black and Whiteâ€ is a solid and successful comeback from a band that always deserved better. Those who remember the band circa 2002 will be happy to find that they still sound great after all these years, while those who have spun the bandâ€™s two previous records to death will find just enough variety and variation to make this third effort worthwhile. Even though it falls short of perfection, TRUSTcompanyâ€™s third album proves the old adage that the third time is the charm. â€œDreaming in Black and Whiteâ€ is without a doubt the bandâ€™s finest album to date and with enough push, will do well to reinstate the band as the premier sensitive-guy hard-rock outfit. Hereâ€™s hoping it wonâ€™t be another 5-6 years before we hear new music from the band.
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