Band Name: Fairmont
Album Name: Hell Is Other People
Best element: Neil Sabatino’s voice.
Label name: Renfield Records (www.renfieldrecords.com), Reinforcement Records (www.reinforcementrecords.com)
Band e-mail: email@example.com
Some bands stay the same. Better bands tweak their sound between albums. The best bands evolve, putting out a musical diary of a life in progress. We still listen to Wilco because no one knows what’s coming next- the same thing with Radiohead. We love bands that we can’t pin down.
That’s why Fairmont is so good. When I first heard their new release Hell is Other People, I was shocked. My critic flags went up, and epithets were soon scrawled out in big letters on imaginary walls: “Where’s the acoustic guitar?” “Why is there a bassist?” “Why is Fairmont rocking?” and most of all “What possessed them to tone down the vocals?”
Yes, Fairmont hasn’t just tweaked their sound. They have given it an extreme makeover, and while it hurt at first, I think that the wrinkles have smoothed out in my perception of this album. Yes, it is way different then Anomie, which is still my favorite indie rock CD of all-time, but it’s also very strong in its own right. It retains many of the qualities that I liked about Anomie, but with different focus. Anomie is about being bitter- the acoustic guitar jangled in an angry way, the vocals were a nasally sneer, absence of bass lent an urgency to the sound, and the fey way in which they pulled it all off made Anomie a near-perfect snapshot of the Neil Sabatino mind. It is a virtually flawless album in many ways.
Hell Is Other People, despite the more bitter-sounding title, actually focuses more on making cohesive music than just being bitter. The songs, now fleshed out with the talents of John McGuire on bass, feature two electric guitars instead of the old acoustic/electric configuration. And, sin of sins, they’ve pulled the vocals down in the mix to more coherently mesh with the music. The result is an album of indie-rock that retains much of the Fairmont songwriting style, but sounds much more polished and ‘normal’ than the Anomie-era Fairmont did.
Is that polish a bad thing? It’s up to the listener to decide. It’s like saying, “Is the switch from ‘voice of a generation’ OK Computer to the self-indulgent Kid A good or bad?” There’s people on both sides. Some people will point at “The Monster You’ve Become” and say that it’s the dark, harmonic rock sound that Fairmont seemed to be aspiring towards on Anomie– others will point to “Monday” and scream that Fairmont would have never made a stab at such a generic rock sound on their previous album.
There are songs here that showcase the brilliance of Fairmont- The dark, overbearing tones of “Hypochondriac” hearken towards bright things for the rocking side of Fairmont. “Twenty/Twenty” allows the unique vocals of Neil Sabatino to shine -complete with vibrato, snarl, and weird melodies- in the context of rock. That’s where Fairmont should be heading. And no matter what anyone says, Neil Sabatino’s voice is great. You will never forget it, and you’ll hum along with it. Therefore, it’s great.
So is the polish a good thing? I would say yes, because, all points considered, Hell is Other People is a good album. It’s a great album to drive to, you’ll get some of it stuck in your head, and you’ll be able to relate to a lot of the lyrics. They’re not all bitter- in fact, only “The Monster You’ve Become”, “Your Pictures on My Dartboard”, and “4th of July” even approach becoming caustic.
If the point of a review is to decide whether to buy a CD or not, I say buy this- no question. Fairmont will always be light-years ahead of the average indie band. But back to theoretical musing- could Hell is Other People be Fairmont’s The Bends before they accomplish their OK Computer? Only time will tell. Hopefully they’ll keep evolving and the next album will show us a completely different side of Fairmont.