Austin's own Knife in the Water craft an interesting mix of a variety of musical styles into haunting, purposeful dirges that can scourge the light into non-existence. One of the first signings to the new Aspyr label — an off-shoot of the popular software company — the band is re-releasing all their previous recordings along with this album of new material. This is not the same music that was voted into Spin's Top 20 of 2000, but it is the same band all grown up and grown into their relationship.
Although some members have left and been replaced, it is the same core of Aaron Blount, Laura Krause and Bill McCullough that explores the deep, and they've come back with some very interesting mope rock. The country influence that is omnipresent is toned down here, and the more art rock dwindlings are turned up, forming a lush and heavy canvas. At first, Cut the Cord is the album of their lives, with gorgeous interplay between Krause and Blount highlighting and driving the songs at the same time. McCullough's guitar work is never lost in these songs, often soaring above it. It's the flourishes that get in the way, causing the occasional bewildered expression on my face. Why the strange keyboard sound was needed on the otherwise perfect "Massacre," and why the necessity to cause "Golden Calf Highway" to dissolve into confused noise, I'll never know. It's choices like these that make the band trip all over themselves in the middle of a very elegant and smooth dance. The addition of two new tracks for the US release are a welcome surprise as they are both fantastic, with "Threads of Carbon in Watercolor" showing how the flourishes can be used to great success. Overall, a welcome return from a fine band who has obviously learned a lot about themselves, but work best when they keep it simple.
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