On The Chariot

*Tana-ta-tana-ta-tana-ta-tana-ta*

*Tana-ta-tana-ta-tana-ta-tana-ta*

This is the last chance you get… Open wide!

— The Chariot

For many people who are familiar with The Chariot this refrain should stand out as an iconic overture on the track Back to Back from the album The Fiancée, music video here. The moments which follow are a visceral, jarring assault on your senses. Well, your sense of hearing to be more precise. Most to whom I’ve played this, or other Chariot tracks, have generally responded with a strong aversion, disgust or incredulity that music like this exists. More interestingly, this response is present regardless of whether the person in question listens to broader categories of alternative music (e.g., heavy metal) or not. I find these responses totally understandable — perhaps even a desired outcome. It’s just a cacophony. And an especially obnoxious cacophony at that¹.

Regardless of your initial response, I’d like to invite you to consider my case; that The Chariot presents unique art, painstakingly and lovingly crafted with an incisive message for modernity. The Chariot unpacks an interpretation of our modern milieu that is as shrewed as the music is unhinged — which is worth taking stock of. I submit to you this post as my brief post-mortem review on The Chariot.

Without delving to deeply into the origins and interlinked nature of music genres it is worth noting that The Chariot’s roots are in punk rock. Telltale signs being present in song brevity, aggressiveness, minimalistic use of chords (at times) and charged lyrical content. Math Rock (syncopated, irregular rhythm sections) combined with punk roots create a hardcore sound also present in bands like Norma Jean and, more along the Math Rock tangent, bands like The Dillinger Escape Plan.

I first heard The Chariot’s music when I was in eleventh grade, back in 2009. Their album Wars and Rumours of Wars had recently been released and a friend of mine played the track “Daggers” to me. At the time the accompanying music video² demonstrated that this band is not a typical group — they had something to say. The insignificant cartoon army-men being dropped into the midst of war with the sun happily(?) shining down on them depicts the way in which human life is undervalued by proud detached leaders. This particular song is clearly a protest against the powers that be with the repeated phrase: “War, it’s only skin deep”. Like many bands in the genre they sounded really angry, but about what?

The Chariot’s first album Everything Is Alive, Everything Is Breathing, Nothing Is Dead, and Nothing Is Bleeding is even a challenge to the convention of album titles (at the time). By the time they released One Wing the music and presentation were honed to a razor sharp edge. With tracks “In” seasoned with aphorisms: “We’re all capable of love, we’re all capable of cancer” and “Love.“‘s (one of all my all time favorites) lyrics “You fell in love [with the world], you fell asleep”. These lines reveal a theme: a reclamation of what was lost and supremacy of individual decision-making while affirming the accompanying responsibility that come with our decision-making powers — all delivered in a tongue-in-cheek manner.

The band’s primary driver and creative force Josh Scogin went through several line up changes. He nurtured and maintained the band’s vision. Scogin is a self-proclaimed adherent to the Christian faith and his lyrics contain many references to Paul and Christ. However, in keeping with the nature of art, Christianity is not a prerequisite for resonating with lyrics like “We hold our breath as we pass everyone sleeping…” which occur in a meadow-like dream section of the track “Tongues”. This section speaks out as a call for action in the presence of overwhelming inaction, presumably apathy. As an overall body of art The Chariot is a Nietzschean grip around the shoulders and call for an honest evaluation of one’s life and surroundings with motivation to consequent action.

One gets the sense that this of music seeks to undo the confidence with which humankind establishes and venerates it’s ideologies as superior and correct - to me this is particularly true of the West’s cultural pattern. The Chariot’s music warns against the dangers of oversimplification and tends to depict humanity grasping at straws, endlessly seeking for unifying theories but only discovering paradox leading to deepening anxieties, unless we can somehow awaken to our place in the world (whatever that may be).

Notes

1. I have seen exceptions to this rule, individuals with whom The Chariot resonate off the bat. Emphasis here on exception.
2. The music video for “Daggers” may contain the first instance of dabbing.