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Life & Arts

Blue October gives fans what they want

Band's 'Foiled' shows its strengths with a handful of treats

by KRISTEN YOUNG
The Daily Cougar

While Blue October's Foiled shows signs of frontman Justin Furstinfeld's growing fascination with synthesizers and studio tricks, the album's so-so tracks shouldn't surprise any longtime fans. But that's not to say that Blue October isn't fantastic, because they are.

The band is notorious for playing shows that inspire fans to create a personal attachment to Furstinfeld through his self-loathing lyrics that hit close to home for many. The band is likely to never catch the intensity of its live shows on any recording.

The album's first single, "Hate Me," begins with splices of voicemails from Furstinfeld's mom. He's employed the technique at live shows for years and it almost always comes off as a haunting sound that illustrates constant voices that he hears in his head: "I have to block out thoughts of you so I don't lose my head / They crawl in like a cockroach leaving babies in my bed." The song is catchy and his voice, without layers or synthesizers, sails above the guitar and violin that drive the harmony.

For those dismayed by the voicemail intro, take heart. Furstinfeld used to begin shows (and a CD) with a monologue that was much more intense than the sound of his mother's voice. As a lyricist, expect Furstinfeld to play with spoken word. With the music of Blue October as the backdrop, the result will leave a lasting impression.

And the question we're all asking is this: Where is the violin? Ryan Delhousy is incredibly talented and record label or no record label, there's no excuse for such little use of the violin in Blue October's more recent tracks. 

One of the reasons it's impossible to explain Blue October's sound is because of the innovative ways the band is able to mingle classical instrumentation and rock 'n' roll. "Drilled A Wire Through My Cheek" is a good example of the band's departure from classic Blue October melodies to a more, dare I say, radio-friendly sound.

But fans from yesteryear should be glad to hear old favorites like "You Make Me Smile" recorded at long last. So it's not the same ethereal piece fans know and love; I'm sure it will be better at the band's shows. The same can be said for "What If We Could." These two songs are fan favorites and pretty much everyone at a live performance knows every word despite the songs having never been recorded.

The final track, "18th Floor Balcony," is an escape from the synthesized undertakings in songs like "X Amount of Words" and "What If We Could." For once, it seems as if Furstinfeld is at peace in a relationship. It's a relief from the tension in the album to hear him sing without the hindrance of layered vocal tracks.

The motivation behind the layered vocals in other tracks leads the listener to think Furstinfeld isn't being himself, which, in some cases, is probably true. Fans have been watching him deal with emotional instability for years, so a masked voice in a few angst-filled tracks is to be anticipated.

It will always be impossible to explain Blue October to people who haven't followed the band or who listen to just one track or even one album. The band's music is better when heard live and Foiled can't be expected to live up to that standard.

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