The music underground of the 90’s was defined mainly by the whim of teenagers everywhere. The almost compulsive pull away from the glam rock and hair metal aesthetics of the 80’s created some of the oddest and most ambitious genre mixings to date. The creation of shoegaze fusing sweet, melodic dream-pop and post-rock walls of harsh guitar sound with emotional, lovesick lyrics was a force to be reckoned with though bands like My Bloody Valentine and Duster. The genre gained its name from frontmen of the bands often solemnly staring at the ground, even while performing. Unfortunately, shoegaze never progressed to the mainstream-or showed much sonic evolution either. Except for one album. 

In the early 90’s, Texas singer-songwriter Josh Pearson found himself experimenting with a number of different musical projects, one of which being the alternative rock outfit, Lift To Experience. This three-man operation was founded on the sole basis of creating a magnum opus of alternative rock and shoegaze music, but with the elements of gospel and country that Pearson and his friends were raised on, as sons of dusty Texas church life, with rusty stirrups and all.

The Texas-Jerusalem crossroads was not just an expression of Pearson’s faith, but a story rich with the personal details of it. Through the 11 song, 90 minute album, the listener is delivered the story of three young men from Texas, who hear voices from the angels of the Lord. The angels tell them that Jerusalem is being moved to Texas, and that they must prepare all other humans for the second coming of Christ. 

It’s worth noting that the storytelling on this album was not an overnight job. Pearson and his bandmates clearly put a lot of thought into the progression of the story, as even the song titles work as summaries for what takes place into the song. The opener, Just As Was Told, Pearson sings about the prophets contacting him and his friends to carry out the Lord’s message. On Down Came The Angels and Falling From Cloud 9, the angels give our protagonists powers and angel wings, in exchange for their Christian servitude. The next three tracks tell the story of the three men spreading the news of God to humans everywhere, and the final four tracks tell the story of the second coming of Christ, along with the war that follows. 

As for the musical composition on the album, it’s a complicated ride, to say the least. The original version of the project was poorly mixed in a garage on subpar equipment, due to the budget of the three broke college kids. However the band’s single album saw moderate success in Europe, enough for a small tour. During the tour, Pearson and company were approached by two members of Fontana Records, the label responsible for producing a number of records by famed dream-pop outfit, the Cocteau Twins. The label offered to mix and master Pearson’s album in bulk, as well as release several songs as major-label singles. Pearson agreed.

Fast forward about five years, to three penniless young men with shattered dreams. The ultimate distribution of Pearson’s masterpiece was unsuccessful, and the tour ended with a great loss in money. In subsequent interviews with local papers, Pearson often expressed his dissatisfaction with the professional mastering of the album, and ultimately felt Fontana Records was to blame for his failure as a musician. The bankruptcy and breakup of the small band of hometown heroes forced Pearson to strike out on his own, finding moderate success as a solo artist. 

After years of a minor solo career, Pearson finally began the uphill battle of remastering his baby, his pet project, his masterpiece. The rebirth of The Texas-Jerusalem Crossroads had begun. In 2012, the remastered version of the album was released to the internet everywhere. In just four short years, the album gained a cult following through the internet and various small communities that treated it like the beautiful work of art that it was. A few thousand special musical listeners realized that three Texas musicians had EVOLVED shoegaze, not just containing it to the lovesick boundaries that it was born out of, but using heavy distortion, guitar pedals, and pounding drums to reinforce the divine nature of God’s will.

It’s also important to note that the vocals are in a league of their own. Pearson doesn’t sing like a forlorn lover crying for human touch, but an earnest preacher, determined to convey his message on a land of ignorant non believers. The vocal layering and harmonies on the album are the sweetest of ear candy. It’s seldom that shoegaze music displays vocals with such personality, yet technical proficiency as well. But the mixing itself is really what shines. Pearson displayed his prowess as someone with an impeccable producing ear. The drums are crisp, the guitars heavy, and the bass resonant; soulfully humming with every word out of Pearson’s mouth. It’s these unique qualities that set The Texas-Jerusalem Crossroads apart from any other rock albums, and its unique combination of elements works to the album’s benefit at every turn.

Pearson’s magnum opus was finally at peace and recognized for what it truly was: the greatest shoegaze album of all time.