The Forecast – Self-Titled

After writing two albums about family, place, and the road, Illinois pop rockers The Forecast try tackling the hit or miss subject of love and relationships with their self titled, Eyeball Records debut.  Considering the strength of the band’s past success and knack for intelligent, reflective subject matter, the result is far from a write off – although there are certainly times when The Forecast succumbs to predictability.

Prior to release, lead vocalist and primary writer Dustin Addis explained how he “wrote about how bad it feels to know you’ve lost something when you never should have given it up, asking for forgiveness when you know you probably don’t deserve it, but you know you’ve lost something you can’t replace.”  The band finds success when exploring such sentiment because they explore a full spectrum of emotion, rather than a superficial approach.  Consequently, they aspire to create something more than a simple “break up album” by grounding their tracks in reality.  And when it works, the result feels heartfelt and genuine.  Tracks like “Illinois” and “I’ll Set You Free” serve as great examples of moving on and coming to grips with acceptance without tainting the lyrics with obnoxious, hateful hang-ups.

However, even with all their good intensions, The Forecast can’t escape the obvious draw of the typical “take me back!” sentiment.  While thankfully in the minority, those like “Lost At Sea” and “So Wrong” take an over trodden path, pumping out over-stated passages like “have you ever said, ‘I miss that boy…’ I’m begging darling, please.”  Considering the great sense of closure and self-confidence in the following track, “Kisses,” the decision to dwell rather than move on just seems out of place.

Musically, The Forecast exists in a precarious realm of slick production values underpinned with an authentic edge.  Addis sings with a complacent, altogether calm demeanor, featuring a faint rasp – ultimately some sort of uneven blend of The Early November and Lucero.  Speaking of which, a certain country twang makes itself known throughout, originally surfacing in the form of Americana during “Losers,” and returning in force during tracks like “Snake Charmer.”  The country influence provides an essential sense of earthy grit, and while not always present, helps keep The Forecast grounded.

In the end, The Forecast both surpasses and succumbs to the pitfalls of the classic breakup album.  On the one hand their emotional journey feels grounded in reality rather than in fruitless fantasies.  But on the other, there’s some clichés they just can’t escape.  Even so, their musical foundation keeps their self-titled album a solid outing even during low points.  Fans of indie pop should find a lot to like here.