Veterans of Disorder

The Royal Trux aesthetic evolved over the years, with the band using the experimentalism of their earliest records to bring a ragged edge to their more conventional rock ’n’ roll performances. Being signed to Virgin Records for a while shook Royal Trux in a good way, and songs such as “Stop” (as close as the group ever came to the Southern blues and soul that was always at the heart of their music) and “The Exception” (where they attack ‘50s rock ’n’ roll without subtlety) synthesize Royal Trux\'s scuzzy indie rock art-noise with the lo-fi grandeur that was at the center of vintage rock ’n’ roll. Mainstream rock fans might find this approach far too abrasive, but folks who’ve come to terms with the brutal vibe guiding the works of Gene Vincent, Eddie Cochran, and Little Richard may feel a kinship in the distorted glee of “Waterpark” or “Witch’s Tit.” It isn’t until “Sickazz Dog” that the scales tip toward RT’s propensity for perversity, but they’re quickly back on course with the nasty snarl of “Coming Out Party.”

With 1998's excellent Accelerator, Royal Trux completed their rock history trilogy and returned to Drag City. On Veterans of Disorder -- the title of which attests to the band's mix of classic rock and noisy experimentation, and to their status as survivors of their own chaotic excesses -- the Trux move forward and look back at the same time. Splitting the difference between their increasingly focused yet subversive rock and their early, sludgy experimentalism, Veterans of Disorder begins with seven (relatively) radio-friendly versions of the Trux aesthetic. "Waterpark" is an almost-straightforward raw charge led by Neil Hagerty's driving guitars and Jennifer Herrema's sultry, snarling vocals; the sexy "Second Skin" follows suit, and the duo shares vocal duties on "The Exception" and "Yo Se!"'s the Glimmer Twins-style funk. Latin percussion adds a twist to "Lunch Money," while "Witch's Tit" and "Stop" show off Royal Trux's softer side. None of these songs last longer than three and a half minutes, but the group crams as many big guitars and weird ideas as they can into these "singles." The album's second half returns to Twin Infinitives-era noise jams for inspiration, especially on the shambolic "Sickazz Dog." Herrema's wonderfully sneery vocals on "Coming Out Party" serve sharp-tongued lyrics like "He's going to be a playboy in his mind/He's trying to pretend he's making friends," while "Blue Is the Frequency" mixes jazz, cock rock, and a bit of slide guitar into a nearly nine-minute workout. Though the album sounds cleaner and more focused than anything Royal Trux released on Virgin, it's the duo's closest tie to their trashy underground roots. One of their most accomplished works, Veterans of Disorder could only be made by artists as creatively and financially independent as Royal Trux. - Heather Phares Allmusic.com 4/5

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