far – At Night We Live

After calling it quits in 1998, progressive post-hardcore group far (mind the capitalization!) are back and ready to scribe a new career chapter ten years later.  But, if you’re anything like me, then you probably don’t remember the foursome, making their Vagrant Records debut, At Night We Live, more of a formal introduction.

So a quick rundown: far takes their sound from the heyday of 90’s radio rock, originally rising to notoriety during the grunge decade.  They take an obvious nod from bands like Nirvana, while also erring on the side of convention, unafraid of aligning themselves with the clean, bold, style of mainstream rock acts like Audioslave or Silverchair.  Vocalist Jonah Matranga can sound like a straight up unapologetic tough guy (“Deafening”), or a sensitive introvert (“Give Me A Reason”).  Likewise, his bandmates have no problem shifting from contemporary rock to calming reflective pseudo-melody.  The result covers a lot of ground, making far a band with a diverse potential for appeal.

Those looking for something for their radio based alternative rock playlists should get a lot of mileage in tracks like “Fight Song #16,233,241” and “Dear Enemy.”  The former fits snuggly along side high-energy stadium rock, amplified during chorus by a set of backing pipes and loud riffs.  Meanwhile, the later enters a soft, almost ballad-like loop more in line with Oasis than anything of the grunge era.  Those embracing these designations should get a lot from these tracks – and heck, even if I’m not normally crazy about this type of music, I had a much easier time getting into far than say, Chevelle.

Even so, there’s also some pleasing moments for those looking for something a little more abstract.  Tracks like “When I Could See” crawl along with passionate whispers and an overarching dark disposition.  These moments don’t typically dominate tracks, instead often taking the form of brief experimental passages.  For example, the fluttery guitars towards the end of “Better Surrender” should keep most listeners guessing, and the reoccurring highs and lows making up the nearly eight minute “The Ghost That Kept On Haunting” really gets under your skin.

The album does however end with a glaring misstep in the form of a bonus track.  After hearing it even once I had originally thought, “no self respecting rock fan would ever be caught dead listening to this abomination of a bonus track.”  However, as even a simple internet search reveals, this misstep was actually the reason for far’s second lease at life and was responsible for their current record contract wit Vagrant.  This misstep comes in the form of a modified Ginuwine cover (mid-90’s R&B sensation) called “Pony,” and despite becoming a hotly requested radio single in 2009, is a painful, agonizing listen.

Basically the band takes “Pony” and transforms it into a satire of what has come to pass for mainstream pop-rock during the band’s ten year absence, in a clearly hyper-sexualized, vocoder enhanced environment.  Lines include gems like: “if you’re horny/lets do it/riding my pony/my saddle’s ready/come and jump on it.”  But while the intent might be good, “Pony’s” success actually resulted in the band sharing and topping today’s Lady Gaga dominated charts charts alongside many of the band’s they fought to keep their audience shunning.  If the track’s airplay teaches us anything, it’s that far could make a load of cash if they ever sold their souls and joined the other team (which ironically is exactly what “Pony”).  Instead, they’re happy to entertain a moderate but respectful audience.

Odd conclusion aside, At Night We Live is a pretty good album.  I don’t normally go for the radio rock thing, but far kept my attention by making an album with mainstream appeal without a commercialized template.  A good album worth giving a shot.