Farewell Continental – EP2

When not fronting his long time band, Motion City Soundtrack, vocalist Justin Pierre masquerades as Richard Kimble in the jam session sounding side project Farewell Continental.  Aided by members from other Minneapolis bands (Trace The Skyline, and Small Towns Burn A Little Slower) that I’m less familiar with, the band maintains a low profile.  I actually missed their understated EP #1 back in 2009, and am only now finding introduction to the collaboration with their sequentially titled EP #2.

The group exists in a precarious little arena that finds garage fuzz squaring off against sugary pop melodies.  For every pop punk punch, the garage faction lands a smokin’ sidekick, making for a well-balanced match.  Some have lumped the band into the shoegaze camp, but Pierre’s vocals alone make for a far too interesting listen to slap on such a designation (although there is a fair share of long, drawn out pedal work).  In fact, he’s never sounded as downright spastic and loose as on the slandering verse of “Son Of A Bitch/Son Of A Whore.” 

The basic formula focuses on the steady hum of static encrusted pop laden guitar backing Pierre’s one of a kind style and a youthful stream of steady supporting female vocals.  “The Great Decay” kicks off the six-song EP with a smoothly juxtaposed melody and vocal vulgarities, speaking a healthy truth of emotional longing.  Based on the nature of many similar lines, there’s a strong argument that these are the songs that didn’t make it past Motion City Soundtrack’s initial label inspection.  That being said, the hooks are catchy, and get under your skin in no time.  “Total Destruction” ends with a stadium filling vocal chant asserting that “this isn’t real life living,” promoting action over stagnation, and “Western Boys & Girls” just throws in some good old fashioned “woo-oo-oo” style harmonies amid a little light hearted duet.

The EP ends with a cover of the 1970 Crosby, Stills, Nash, & Young classic “Crosby, Stills, & Nash.”  Oddly, although in line with the EP’s tendency to juxtapose mood and message, it’s the EP’s most somber recording, played with an almost disenchanted delivery.  The band takes the timeless top 40 hit and takes a unique ownership over their cover – a result speaking to Farewell Continental’s knack for transcending the looming shadow of own pedigree and existing on its own terms.

Now, EP #2 isn’t about to set a new standard for any of the member’s primary projects, so they certainly shouldn’t quit their day jobs.  But as both entertaining and different, if these playful little ditties are what it takes to keep the creative juices flowing, then I can’t wait for EP #3.