ARTIST: Fools Ferguson
RELEASE: Dead Lines
RELEASE DATE: 27th January 2017
RECORD COMPANY: Unsigned
The real, meaty, heavy side of dreampop/shoegaze music is shown; teeth-baring, wild and beautifully sludge-filled on the album ‘Dead Lines’ by Fools Ferguson. But even the heaviness and wall-of-sound like musical qualities are contrasted on the release by dreamy, wavering passages of music; strung together with FX, keys and a unique vocal style. Together these elements mix in with touches of post-punk revival and alternative rock to create quite an original group of sounds, genres and thoughts in the shape of music.
The album opens with the lengthy, over eight minute epic ‘Altered States’. It’s beginning showcases the aforementioned heavy side of alternative, dreamy music; guitars and drums link together to create a wide and tall sound and the use of the subtle sound of keys underneath the mix stir together to create a truly memorable intro to the song. The vocals are, unlike many dream pop/shoegaze bands, fully visible in the mix of the music. This allows for an interesting contrast and connection between the vocals and the synths/keys across the course of the song. A pounding drum machine manages to keep the song rolling along at a steady and patient pace, and occasionally a piece of technical wizardry or synth swirl will accompany the sounds on the song even further. It is true that the greatest parts of ‘Altered States’ are the creatively engaging instrumental pieces; built to convey images and emotions through chords and contrast. Turning things completely over in sound is the much more upbeat and shiny ‘Room and Roses’, which takes on a more pysch-rock influence while maintaining enough of an air of dream pop to remain slightly familiar. ‘Room and Roses’ is in fact a ridiculously catchy, well-written and brilliantly performed song. That’s about all I have to say about that. ‘Room and Roses’ is followed by the brilliant, post-punk revival sound of ‘Crystal Castles’ as much of an album highlight as ‘Room and Roses’, the song sees the band turn to the crux of classic post-punk music; equipped with thick bass lines, the double tap snare and hi-hat dance sound of the percussion, and the intricate, weaving sounds of guitar. It’s an enjoyable and interesting song that seeps more and more into a darker sound as it goes on; culminating in a heaviness of a different kind to the albums opening.
‘The House of Love’ slows everything down into a more pop orientated sound that even features an acoustic guitar! The verses seem to be a weird combination of synthpop (where keyboard lines bounce around on the riff) and alternative rock, making parts of the song seem uneven or perhaps even under written. The chorus is fantastic; featuring a great but simple riff that captures the essence of dream pop music in only a few notes/chords. Another album highlight is the epic, seven minute piece of dream music ‘Wild Sides’ which blends together dark, timid soundscapes with the previously explored structural elements of post-punk music. For most of the song, the music churns and churns in a kind of minimalist way, underpinned by the slow synth movements underneath the song. The vocals are more akin to traditional dream pop/shoegaze music; drowned and FX’d above the music; soaring and drifting in a kind of contemplative manner. ‘The Black Star…’ turns thing back to a more ‘Room and Roses’ kind of sound; although it appears less upbeat and catchy in its performance and style. The chorus really highlights a swift kind of ‘neat and tidy’ aesthetic the band have been hinting and playing at through the course of the release. By ‘neat and tidy’ I mean that the guitars and rhythm section all stay together tightly and neatly in a kind of package wrapped in FX, sounds and noise, rather than presenting a full frontal, wild and unformulated kind of noise or drone. ‘Something Outside’ ties in with other epic songs on the album in its length, height and even its weight. There is a fantastic bass guitar riff that guides a majority of the song, punctuated by the occasional free-jazz inspired drum tapping, but overall the entire thing sort of seems like a thrown together-distant piece of music that shows an occasionally interesting passage of sound or thought. ‘The Alohama Lakes’ turns things around yet again, creating a slow and yearning piece of heavy dream pop music. It’s an album highlight and one of the most prominent songs on the album that sounds fully developed and rehearsed by the band themselves. In fact, ‘The Alohama Lakes’ is a fantastic example of the kinds of songs and sounds the band create at their greatest and most inspired points of the album.
‘Dead Lines’ is certainly an interesting album from a talented and equally engaging band that seems to borrow elements across all sorts of genres of alternative music. But that can’t blend out the fact that this release seems uneven and fluctuating in its sincerity. There a few fantastic, brilliant tracks where the band show they’re skill in song writing and crafting, tied together even more so by brilliant performances. But even these said tracks vary so much in stylistic and conceptual elements that you wonder at times if you are listening to the same band as before. I stated before how there are some elements that carry from song to song, such as tones, distinct playing and kinds of sounds, but for most of the album these elements are not strong enough to resonate throughout the entire release. There were even times while listening to this where I thought how much powerful the songs would be if they were completely instrumental and there were other times where I wondered about where the song had wandered off to in context with the album. All these elements amount to what is referred to as ‘uneven’ or ‘muddled up’. But all this is not to say the band is without immense talent or skill. As stand alone tracks, a majority of the album sounds interesting and well produced. Furthermore, the bands skill is shown throughout the entire release through the avenue of performance; each instrument and sound melding fantastically together. This goes further to reflect the mixing in itself; brilliant, wild, subtle and amazing. I think this is very interesting and well-written music that you should here, but I also hope that Fools Ferguson reconvenes to consider how an album can flaunt their talents and skills as a complete package. They already have the talent and skill; it’s just about how you use it. Besides that, there is the many feature highlights, especially in the realms of production, performance and sound.
ABOUT THE AUTHOR:
Cam Phillips is a writer and above all, a music lover, who seeks to gain experience through writing and listening. He is also an avid film viewer and art and literature junkie who enjoys creative writing. His most recent published work was featured on the Australian heavy music blog, I Probably Hate Your Band.