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The Columbus, OH trio's rather cheeky name flies in the face of songs that serially examine the concept of aging in a punky band like the one in which they play. It that sense and others, Two Cow Garage mirrors the Drive-By Truckers, whose intelligent lyrics likewise tackle serious subjects behind a humorous name. Little has changed in Garage's basic sound on their oddly unimaginatively titled third album III. Horns bolster one song, keyboards a few others, Slobberbone/Drams frontman Brent Best co-produces four tracks and adds guitar on one. It's a tough, tightly rocking sound that is less influenced by country than in the past, especially on the horn enhanced "Mediocre." The experimental tendencies of "Camaro," a song that starts and ends with the tuning of a radio (a sample of the Who's "Won't Get Fooled Again" is particularly startling), brings the ragged C&W back, as singer Micah Schnabel's torn voice rips into the ballad-like tone of Steve Earle after a rough night. The album kicks off with roaring, garagey rockers, but turns introspective, more tranquil, but no less incisive in its final third. The Replacements' comparisons are still valid, but this album shows an evolution and maturity, partly due to the members becoming older and wiser, but also because the songs take more chances as they shift through changes. Apparently the group considered disbanding before this recording, but the results show they took the correct course to write about their insecurities and keep the outfit going. The result is a keeper that demands multiple spins. "Postcards and Apologies," the album's finest and final track, soberly sums up Schnabel's doubts about his life and future. Like his band, he seems intent to soldier on despite reservations. Hopefully he doesn't have second thoughts about album number four.
http://www.allmusic.com/album/iii-mw0000478875
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Nearly a decade after dropping their debut full- length, Please Turn the Gas Back On, Columbus, Ohio based Two Cow Garage are poised to release their sixth studio album, The Death of the Self Preservation Society to the world on September 10, 2013 in partnership with Last Chance Records. With a thick wall of thundering drums and exploding guitars propping up the band’s snarky style of storytelling, Two Cow Garage’s latest cut is set to shake the industry with the release. Recorded at HI/LO Studios, housed inside of a historic 100 year old barn in Eden, New York, The Death of the Self-Preservation Society showcases the unique mash-up of songwriting styles of both of the band’s front man Micah Schnabel and bassist Shane Sweeney.“We’ve recorded there a few times and we have just fallen in love with it,” Schnabel said of the studio. “We sleep in the old farm house and wake up every morning to go out and record all day and night. The studio is actually up in what would be the hay loft and it overlooks the farm. It’s just a great place to be locked away and not have the distractions of every day life.”The band launched into this recording with a brand new approach. When asked about the recording process, Schnabel explained, “We laid a drum track first and then laid the bass. After that, instead of piling on guitars, we laid the lead vocal. From there we only added parts that we thought the song needed. We really tried to let the songs breathe. We did each single song start to finish before moving on to the next. I really feel like it helped give each song its own identity and feel.”Several guests dropped by the studio to record with the trio, including members of Cheap Girls. “We got lucky and our good friends Cheap Girls were playing in Buffalo while we were recording. They stopped by and we had Ian Graham sing a verse on the song “Stars and Gutters” his brother Ben also ended up singing on the chorus,” Schnabel remarked of the appearances.Producing the album themselves, Two Cow Garage has managed to compose a near flawless collection of tracks possessing a near perfect balance of old, historic punk qualities and new radio friendly pop-punk attributes. For example, “Little Prince and Johnny Toxic,” the album’s opening track, propels the album into a full-tilt frenzy from the line “no one makes it out alive.” “My Friend Adam” and the album’s title track, “The Death of the Self-Preservation Society” follow suit, projecting the band’s raw and uncensored outlooks on the current state of society. With a jaded tone and a ‘take no prisoners’ snarl, the track kicks the door open to a straightforward and matter of fact album holding nothing back. Even the softest tones on the album, like “Mantle in ’56″ come connected to a sense of reality few bands are brave enough to ever approach. However, with Two Cow Garage, this tone is both
http://www.mediafire.com/download/jx7w3f8ek98u5n3/TCG_TDOSPS.zip

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