Review by Matt Miller
Originally available in 1999, the re-release of A Thought Crushed My Mind shows off over 65 minutes of music including four additional songs. Complementing the re-release of the self-titled debut CD, A Thought Crushed My Mind celebrates over ten years of Blindside with equal proportions of grandeur and pandemonium.
“Vows of Silence” effectively breaks the silence by launching directly into the core of the album, catchy and energetic rock. On first inspection the scream/sing vocals may elicit a screamo or even hardcore label by listeners, but such a simple synopsis is quickly refuted by the rather mellow conclusion of the following track.
“As You Walk” begins simply enough with muddled guitar riffs and rough screaming, but the transitory use of traditional string instruments (violins, cello, and upright bass) near the track’s conclusion is striking in its fluidity. The second track effectively begins setting Blindside apart from other bands that might simply use samples or try to use traditional instruments as accessories rather than necessary musical elements.
The next two tracks, “King of the Closet” and “My Mother’s Only Son” acquire considerable repute as my favorite tracks on the album. “King of the Closet” adopts a sort of serious, yet glib dichotomy with contemplative lyrics and a catchy chorus that may garner giggles from listeners, I’m a vampire, I’m a vampire, I’m afraid the light will set me on fire! It’s a brilliant chorus. Who wouldn’t extrapolate hilarious implications from that?
“My Mother’s Only Son” is calm relative to other tracks with a slower pace and as much singing as screaming in perhaps a vocal enunciation of the seemingly self-critical lyrics, maybe the one who screams the most screams about himself. This track also enhances the previously established instrumental relationship further with interplaying melodies of electric guitars and traditional string instruments rather than a simple transition.
Although, Blindside is native to Sweden, A Thought Crushed My Mind features only a single song, “Nära,” in Swedish. The ease with which the album flows into this track is almost as outstanding as the comprehension and use of the English language. Blindside is one band that can perform in English without listener complaints; however I would like to hear more songs in their native tongue.
As perhaps a postscript emphasizing the variety this album offers, the final track is an electronic instrumental that is exceptional not only in its inclusion on the album, but also in its quality. It’s an excellent electronic song, displaying more elements Blindside can use to expand and improve in the future.