By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
By Alice Laussade
By Scott Reitz
The Great Black Tie Dynasty Debate continues to rage through the hallways of the Dallas Observer, echoing over the clack of keyboards and cursing editors. On one side, BTD proponents praise the quartet's sexy, moody oeuvre, while the anti-BTD contingent bad-mouths them as derivative Interpol clones. To the haters, I say, "Screw that! Ya got a problem with bouncy bass lines coated in sweetly symphonic synth? Dramatic vocals that evoke some semi-known '80s band whose name you can't quite remember? What's wrong with sparkly guitars and dance-inducing choruses?"
You probably don't like The Crash That Took Me, either, hater, seeing as how it's a supergroup of BTD, [DARYL] and the Earlies, a combo that delivers an earth-shattering explosion of chimy pop. And surely the spastic synth frenzy of Faux Fox, who concoct a heady brew of motocross testosterone and fey Gary Numan eyeliner rock, are not your cup of tea. Well, you have a problem, hater, and that problem is you hate fun. That's fine—you can sit in your room and listen to your alt-country while the rest of us are at this show, deeply inhaling the fog machine fumes and the lovely air of skinny-tie rock.
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