In 2002 …And You Will Know Us by the Trail of Dead (henceforth referred to as Trail of Dead for obvious reasons) released “Source Tags & Codes,” a darling album for indie rock enthusiasts. Since then, their music has been received with less than tepid ethusiasm. Some say that it was because they signed with Interscope. Some say that it was because Neil Busch, bassist and electro-noise maker, left the band. Some say that “Source Tags & Codes” was so perfect that anything that came after it would naturally pale in comparison. Whatever the case may be, Trail of Dead has been in a slump for the past seven years. The latest release from them, however, is a solid effort that combines elements of noise-rock and headbang-inducing guitar riffs, which may just bring Trail of Dead back into grace.

“The Century of Self” attempts to capture raw musicality starting from its production process. Unlike the past two albums by Trail of Dead, the tracks were recorded live without excessive editing, and the energy and sincerity that seemed missing in previous albums “So Divided” and “Worlds Apart” comes through.

The opening track, an instrumental of two and a half minutes, sets the tone for the rest of the album. The short interlude of noise followed by a crisp piano entrance recalls “Source Tag & Codes,” the glory days, which opens in the same way. The ominous repeated notes on the piano are joined by guitars and a hit of the cymbals, the combination of which then escalate to a mass of sound that is at once harmonious and overwhelming. Just when the threshold is near, it comes back down, daring you to listen again.

The longer songs on the album, such as “Iris Unveiled” and “Halcyon Days” are symphonic in scale. “Iris Unveiled,” for example, starts with an upbeat, in-your-face crescendo into a catchy riff, accompanied by lyrics of literally Biblical magnitude: “I have made you in my likeness and I will make you a keeper of my Garden.” While carrying this on for a full song would have made a satisfyingly catchy pop track, Trail of Dead avoids this simplicity. They slow down and draw out the song, adding layers of feedback and flourishes. The layers then drop out one by one, leaving a series of rhythmic, restrained chords, over top of which is a vocal melody that begs the listener to sing along. The chords slow down and fade out, and one would expect the song to end here. Then the tease of the bass and the same upbeat, in-your-face crescendo that jump-started the song returns to bring the track back full-circle.

These epic, guitar-driven tracks avoid becoming overbearing by merit of the piano ballads and simpler tracks sprinkled throughout the album. “Inland Sea” stands out for its ability to balance a laid-back rhythm with still complex instrumentation. Equipped with a bright introduction and a catchy chorus, the track “Fields of Coal” is proof that the spirit of straight-out rock is still with Trail of Dead. The album is rounded off by the folksy and acoustic “Luna Park.”

The record as a whole works like the song “Iris Unveiled.” Trail of Dead brings the listener through different volumes and speeds, intuiting well, for the most part, when the listener will be tired and need respite from it all and inserting moments of calm piano parts or sounds reminiscent of the ocean.

Towards the end of the album, high-energy track “Ascending” interrupts a comfortable string of low-key songs. While for some this may be a welcome intrusion (like the return of the upbeat guitar riff in “Iris Unveiled”), Trail of Dead crosses a certain threshold here that makes the album lose focus and difficult to get through.

Nonetheless, “The Century Self” is a welcome return to the high-energy sound that we have not heard from …And You Will Know Us by the Trail of Dead for many years. Reminiscent of the epic sound of “Source Tags & Codes,” while still managing to surprise the listener with its many twists and turns, this album may be the beginning of an artistic renaissance from the veteran rockers.