Alcoholic Faith Mission: "There Is No Cure From What I Feel"

Alcoholic Faith Mission - 421 Wythe Avenue (2009)

Tracklist:

1. Theme From Soft Ice Cream Products
2. Gently
3. Nut In Your Eye
4. We All Have Our Shortcomings
5. Escapism
6. Guilty Scared Eyes
7. Painting Animals In Watercolors
8. Someone Else
9. Did You Eat
10. Sweet Evelyn
11. Time

 

Aqua. Blue Foundation. Efterklang. Kashmir. Mew. Olsen Brothers. Raveonettes... Familiar with the works of at least half of these bands? Splendid. The music industry in Denmark is not totally meaningless for you. And while the ignorant mob frantically Googles the motherland of Hans Christian Andersen, people who do not know the writer of their childhood's best fairytales join the quest.

We continue diving into a musical obscurantism of southern Scandinavia. Of course, any non-Danish would consider the name of the musical group Alcoholic Faith Mission ... somewhat dumb. But as it turned out, a record label PonyRec, which hosts this remarkable Danish band, is a storehouse of groups with awkward names: Choir of Young Believers, Evil Death Machine, Heartbreak Basement ... you’d ask (and I know you will) what is it : indie-approach in the choice of names, carelessness or just crippled fantasy? Frankly, these questions don’t bother me at all. I doubt that, for example, guys from the cult American band Neutral Milk Hotel thought about any kind of musical success (not to mention the normal house), when they chose their idiotic name. So, if you do not like Denmark, the group name or applesauce - you can go back to the Middle Ages.

Thus once and for all let’s close the topic "why Alcoholic Faith Mission?» by simply reading the band’s explanation or the words of the band’s manager: "We live our lives in the liquor". Nevertheless, despite the abundance of alcohol (and perhaps due to it), the prolific Danes released their fourth album this year - Ask Me This. But I would like to keep my addiction to irrelevance and review their 2009 disc - 421 Wythe Avenue. This LP was the second for AFM, the first for me ... and people who haven’t found the Denmark on the map yet - I am praying for you.

First of all, it's worth noting that the band recorded their first album in the bedroom at night, a using the candles for the light. I know, the concept is concept, but what if something is wrong in the state of Denmark...For their second LP guys have matured enough to move to a Brooklyn factory (small flight for the musicians and a big leap for Denmark, ha?). The topical range of songs was artificially limited by four walls. The result - harsh Scandinavian indies, in the limiting conditions of austerity and alcohol, have created a truly picturesque masterpiece with 11 tracks. With the first timid strokes of Theme From Ice Cream Products, musical canvas of AFM starts gaining momentum. Thus, if the first song only awkwardly touches the ear, flowing close to the listener in a stream of ambient, it becomes absolutely impossible not to pay attention to the persistent second track. Gently fully justifies its name. Sweet voice of Kristine Permild, multiplied by a charming flower garden of stringed literally bare everything inside you from the first minutes of the. Lyrics? My God, well, isn’t this genius: "Just 'cause I'm a whore, you know, it doesn't mean I don't feel it when you fuck me gently"?! And even if the song is just one line, the music and literary depth of it off-scales. The amazing feature of songs from 421 Wythe Avenue is that while staying within the boundaries of lo-fi, they pull out pieces of related genres (dream-pop, ambient, folk) and acquire an amazing atmosphere. A burning example of this - Nut In Your Eye. Reverse piercing the track is so intelligently written, that you don’t get tired of it. Even some kind of sonic porridge at the end sounds harmonically, painting from memory fragments of songs by My Bloody Valentine.

We All Have Our Shortcomings grows gradually, beginning with a guitar picking (leitmotiv of the album) and peeping of a distortion trombone, or whale song. "My eyes lock on yours ...", and everything comes to a standstill, as the protagonist of the 4th track. «In just another our my tongue could well be in you», and slightly tremulous voice of Thorben Jensen is immediately picked up by a gentle vocals of Kristine, giving the intimacy to the scene, soaking each step of sensuality and even a kind of erotic. And what’s the most important, there is a certain feeling of intimacy which maintains even during the climax of the song when the drums are fairly persistent, and the chorus climbs on the overlapping tracks of sound

Fade out of We All Have Our Shortcomings gives birth to the next track. Escapism, of course, is somewhat weaker than its predecessor. But, thanks to bright colors the song successfully retains the atmosphere of the album, and multi-channel delay creates a delicious background for Thorben’s vocals. Nothing‘s redundant. At the same time, the next track Guilty Scared Eyes generally sounds pretty tough - rich, crisp guitar riffs and breaks of the rhythm keep you tensed. It looks like not being able to stop, the wall of sound erupts into Painting Animals In Watercolor and at the end of the first minute all of sudden it retreats, giving the place for the voice of Kristine. Only by the end of the song, it is clear that behind the song with such an infantile name, a hidden footage of "... the beginning of an end" hides. Someone Else evokes mixed feelings: on the one hand, it is topically logical, on the other - absolutely pointless. In fact, instrumental track is like a bay leaf - appropriate for a certain dish. In this musical work of AFM the song looks obviously rudimentary.

Did You Eat is the most problematic record. And it's not because of the text about starving pigeons (of course, it is possible that my feeble mind prevents me from recognizing the philosophical and social issues of the song). The most disturbing moment is a unjustified stealing of guitar riff from the Beatles' Tomorrow Never Knows. Are the Brooklyn pigeons worth it?

What could motivate an indie-band to record an 11 minute lo-fi ballad about the loss/disillusionment/depression/search/meeting with the elements of Hollywood clichés? And if this group is called Alcoholic Faith Mission? .. No, seriously, in my opinion, any musician, if he is not desperate drug-addict or autistic, knows that with every minute-excess of the song timing, the risk for it to become an annoying rubber increases. In the case of AFM, only after the second audition of Sweet Evelyn (22 minutes of my life), I realized the true motives behind its creation are simple: the guys couldn’t help playing. You can hear it in guitar improvisations and the lines of monotonous repetition along the song. And if the lyrics-Rondo of Gently was more than organic, that of the Sweet Evelyn is a little boring. In general, despite all the beauty, lyricism and sincerity of the track, it would rather be chosen for the background. Even a sudden phrase "these fucking maps" snatches the brain from lethargy only for half a minute. The next exit to the reality is at the end of 10th minute when the song ends abruptly.

In my opinion, to finish the album with Time is one of the best ideas that occurred minds of Alcoholic Faith Mission. In addition to the elegant lyrics, song gives to the listener an amazing bouquet of brass instruments. This is not just a musical poem about time, but the last chord of the 50 minutes symphony. "Ink my skin to get you under mine". In the end it's AFM who penetrate deeply into your skin. Eclectic percussion, trombone and tuba chain you with musical flows, voluntarily, out of love, which is so devotedly sung by the music Danes.

421 Wythe Avenue is a masterpiece, a delightful work. This is a story that goes far beyond the four walls that Alcoholic Faith Mission tried to limit themselves with. Perhaps alcohol suppleness also helped to create the vocal and music emancipation, which is the primary drive. And if so, I sincerely wish good health to the talented Danish musicians. And those who have not found this beautiful country on the map of Europe (hint), I hope you at least find the courage to end your miserable life.

In conclusion, the address of the Brooklyn plant may not become the discovery of your life, might not change your musical tastes, or help to win the lottery. But, I am more than confident it  will take a deserving place in your musical address book.

Jeremy Messersmith: "at the end of misspent youth"

Jeremy Messersmith - The Reluctant Graveyard (2010)

Tracklist:

1. Lazy Bones
2. Dillinger Eyes
3. Organ Donor
4. Touissant Grey First In Life And death
5. Violet!
6. Knots
7. John The Determinist
8. A Girl A Boy And A Graveyard
9. Repo Man
10. Deathbed Salesman
11. Tomorrow

What could be more vulgar than a bespectacled, James Dean look-alike indie artist with an acoustic guitar? But don’t rush to conclusions.

Mr. Messersmith’s discography totals three full length albums: The Alcatraz Kid (2006), The Silver City (2008) and The Reluctant Graveyard (2010). Despite the fact that the cover of the latest release resembles child's drawings of Tim Burton, titled in Charles Baudelaire’s best traditions, it successfully continues series of front covers in Minnesota youngster’s discography.

The album opens with a rather frivolous staccato of Lazy Bones. But don’t be mislead by the beatlesque sound of this track. Baiting the audience with unpretentious indie-pop song appears to be a history of a misspent youth. And while its brisk chords pave the way to the listener, the second song of the album makes Jeremy Messersmith’s “reluctant graveyard” more distinct. In Dillinger Eyes, exploring the life-and-death topic on behalf of the "public enemy number one", Messersmith emphasizes on "Dillinger eyes", making them the main character of the biopic. According to the protagonist, they are a symbol of the inevitable fate tragicness. And these very eyes grant fame to a photographer, who depicts the death of the great robber. But the genuine beauty of the song is revealed in the middle of the track, when catchy bass line cuts the acidic Cream-like guitar riff.

"I was born in a mortuary. Full of worry. Ice water in my veins". Organ Donor is one of the TOP songs from the Reluctant Graveyard, baked in Messersmith’s kitchen from diary notes of people who gave parts of themselves to another person at least once in a lifetime. Being a prolific music-chef, Jeremy doesn’t forget about the flavoring - this time, author has found a jar signed "barocco" on his grandfather’s attic and generously seasoned the meal. Organ Donor is literally mesmerizing with melancholy which is “dead tied” to the soulful lyrics. Can’t but note the chamber atmosphere piercing the album; and not only is it a proficient combination of acoustic guitars, polyphonic singing and talented orchestras. Jeremy creates vivid images, conducts a whole theater, gradually surrounding the listener. The next track echoes its predecessor: Toussaint Grey First In Life And Death is built upon the childhood pictures, and decorated with Dylan-like harmonica in the middle. Violet! and Knots were placed in the center of the LP on purpose - they serve as a kind of intermission which allows Messersmith to be a bit more positive than it is prescribed in his in his daily schedule. And that seems quite logical, taking into account that the second part of the album commences with John The Determinist, woven from the vocal, orchestra and the wildest doom, which, most probably, Jeremy has been collecting from obituaries for more at least a year. But, of course, the track is beautiful, at a certain point it gives a sentiment that each violin sounds not in the head, but in the chest. And when Messersmith sings "All you silly things, I got you figured out ..", a part of you tacitly understands what it’s about.

But a gem, his masterpiece, Mr. Messersmith hid under the song number 8. In the 2005 Death Cab For Cutie released Plans with the legendary I will follow you into the dark. A Boy A Girl And A Graveyard is located in the same thematic range, but at a slightly different angle. Like Ben Gibbard, Jeremy sings of love in spite of death. But unlike Gibbard’s monologue, the main characters A Boy, do not talk about plans for life after death, not about love after the grave, on the contrary: "Life's a game we're meant to lose, but stick by me and I will stick by you.." – they are tired of wasting time, which is running out. The whole atmosphere of the cemetery, to which we are led up step-by-step, culminates in the 8th track. This is where the singer from Minnesota blossoms: he speaks of death in such a way that you desire to live. He speaks of love without using any template phrases – stays in the halftones, but crystal clear. And this cello, spread with a its lace on a musical canvas ... it tears the heart into shreds. The true magic.

In my opinion, finishing album with this song was more than logical, but Jeremy thought different. The next track – Repo man, sounds like a failed take on John The Determinist. Deathbed Salesman might have been put into the first half of the LP. It quite awkwardly tries to regain the rhythm Organ Donor, instead. Generally speaking, the last three tracks seem to be incredibly dull against the album’s background, not capable to reach the established level. The last song - Tomorrow, is merely in a sideline. Sad, but I wanted to reward myself with a medal for endurance, after listening to the last track.

You can’t call the album Reluctant Graveyard too conceptual. Yes, the topic of death walks through the length and breadth of each song, but it doesn’t look like an ode to the Ripper or a gothic anthem. The highlighted cemetery is our world, and Jeremy Messersmith uses flamboyant images as tools descriptively expose not death, but life. And what’s more, Jeremy shows how a conventional cello can make a severe 23-year-old Irishman shed a man's avaricious tear.

800beloved: "and then I woke up"

800beloved - Everything Purple (2010)

 Tracklist: 

1. Everything Purple

2. 1992

3. Tidal

4. Surf's Up

5. Empire

6. Slasher Flick

7. If Butterflies Never Burned

8. No More Unicorns

9. Malva

The main charm of such wonderful musical genre as shoegaze has always been its clearly defined stylistic scope ... Simple as that, a magical synergy of noise and pop music gave the sprouts of a new style. But unfortunately, it's this simple, smooth scheme, through which in the late 80s mastodons My Bloody Valentine and The Jesus And Mary Chain made their way to a track-history, didn’t let the genre last long. And it was killed not by the burst of 90s but by the very stylistic frames which, although allowed to fly on pre-shoegaze orbit (with, for example, dream-pop) still led the genre to imminent death. 

And then came the 2000s ... and a new flock of guys who are now gazing their shoes with even more enthusiasm: A Sunny Day In Glasgow, A Place To Bury Strangers, Serena Maneesh, The Twilight Sad... 

And among the new galaxy of shoegazers I would like to highlight the band, which musical vector at the end of the first decade of the century coincided precisely with that one drawn by the founders of the genre over twenty years ago. I do not know how Michigan’s 800beloved do it, but each of the 9 tracks from their second album Everything Purple envelops and pulls you into the maelstrom of 80th. And what’s most important, despite the feeling of something painfully familiar, stylistically native, an arisen sense of nostalgia immediately transforms into the realization that shoegaze is reborn, and has already become a full part of a new musical era. Everything Purple easily proves it. The opening title track with its ringing guitar riff does not leave your head for a long time after listening to it, spreading out its lively rhythm into consciousness. The bass line got significantly bolder in second album (1992, Surf's Up), its impulse runs through your body from the very first notes. 

Wild melancholy of Tidal forces everything in your chest to compress, freeze for three and a half minutes, as a rehearsal before the most exciting track from LP. Indeed, Lynch and the band have saved all the magic and splendor for later: after a rather indistinct middle of the album, which is nothing but a musical bridge, the perfect If Butterflies Never Burnt opens the last third of the disc. No, it doesn’t knock down, it gently lays you on the ground, at the shore, where the ocean speaks.. And without giving time to recover, a second wave brings the most delightful track of the album - No More Unicorns. Balancing on the edge of sadness and happiness, it would abduct anyone with the first sentence "I saw rainbow yesterday. Opened my eyes, it went away..." The album ends with an echo-sounding Malva, blending smoothly into the surf... the one which 800beloved carry you away into the ocean of sound with... And yes, all the songs from that LP are about love. But, dammit, when Sean Lynch sings "There are no more unicorns ever since I saw you", and his warm vocals are being picked up by the voice of Anastasiya Metesheva and the guitar’s glass ... perhaps, this is the true love ... Everything Purple does not destroy the canons, it’s not radically experimental, but it persistently claims that shoegaze/dream-pop woke up fresh, rested and are ready to continue the feast, which began in the 80s. Shoegaze is dead! Long live the Shoegaze!