Fairmont has been a part of Independent Clauses for almost as long as it’s been alive. Over those almost 10 years I’ve seen Fairmont transition from an acoustic-fronted indie-rock band to a theatrical power-pop band and back. In short, it’s been REM to My Chemical Romance to a Violent Femmes/Shins hybrid. That last one spot is where Fairmont currently sits with Live & Acoustic from the Forest of Chaos.
Leaning heavily on acoustic guitar, marimba, and male/female duo vocals, the New Jersey band remakes some of its tunes from the last few years in a chill, stripped-down style. They never lose the friction-energy that powers Neil Sabatino’s songs, but they do smooth out some of the rough edges that the tunes can get from a gritty guitar line or pounding drum kit. “Black Heart Burns” is a great example of their sound on this release, as Sabatino and co. create a sparse but engaged backdrop for the vocal duet to play over. The song is a little morose (re: title), but it never comes off as depressing or overtly navelgazing.
That trend continues throughout: the tunes are surprisingly light and sprightly for their heavy content. “Elephant” has a carnivalesque wonder to it; “King and Queen” is an upbeat song in a major key that will have you tapping your foot and loving the fact that this acoustic album includes marimba. “I Am the Mountain,” a favorite of mine, is just as catchy as in its electric form.
If you’re into acoustic-fronted indie-rock/indie-pop (and who isn’t, these days?), Fairmont’s in-studio live set (no applause, which made me breathe a sigh of relief) is a great way to spend 25ish minutes. Live & Acoustic from the Forest of Chaos drops 1/28.
Fairmont has been writing hook-laden power-pop/indie-pop with a bitter twist for more than a decade, and The Grand and the Grandiose is the band’s most assured work yet. Grand strips down the complex arrangements that have characterized recent Fairmont releases to a guitar/bass/drums trio with occasional contributions from piano and melodic percussion. The tunes rely heavily on the guitar-based songwriting for the main thrust of the album, especially in mood-setting instrumental opener “The Dead Leaves of Autumn.” Fairmont has been writing songs in this genre for so long that this narrow focus is a benefit instead of a hindrance: the band knows what it’s doing, and that expertise shows in these ten never-boring tunes.
The streamlined sonic palette puts the focus squarely on Neil Sabatino’s confident, excellent vocal melodies. The memorable refrain of “Misery,” the intimate performance of “The Sun Shines Only for Me,” and the “ba ba ba” background vocals of ‘Black Heart” are highlights in these tunes that don’t mince words or sounds. If you’re a fan of thoughtful power-pop/indie-pop from veterans who have the chops to make you remember a song long after it’s gone, The Grand and the Grandiose is going to excite you.
It’s not just XKCD that has noticed a lack of popular Christmas songs written and/or recorded after 1980. Shane Vidaurri of The Ashes noticed this as well, and pitched the idea of a Christmas compilation album to his record label, Mint 400 Records. Label owner Neil Sabatino (Fairmont) agreed, and now we have A Very Merry Christmas Compilation to bring cheer in.
The comp is excellent because everyone here turns in a stellar effort. None of the seven bands phone in it or get schmaltzy. These are honest-to-goodness Christmas tunes, worthy of being replayed on radio until no one remembers who the artist is anymore and no one cares. This would especially work because the comp doesn’t stick to one genre, but ranges from The Duke of Norfolk’s folky “Lovely Winter” to Fairmont’s jangly “This Song is Your Christmas Gift” to the ‘50s style rock ‘n ‘roll of The Ones and Nines’ “I’m Gonna Lasso Santa Claus.”
The lattermost is a perfect opening track to the compilation, as it sets a jubilant tone for the album. It’s like “Rockin’ Around the Christmas Tree,” and I love it. Adam N. Copeland apes the Killers’ tradition of putting out a soaring, modern pop tune for the holiday, with a tune that reaches to the same vocal heights as Brandon Flowers’.
There’s some melancholy as well: The Ashes’ “Have Yourself a Merry Little Christmas” can’t even staunch the somber elements of the tune with an almost island-flavored take on the tune. “Sorry I’m Broke” and “This Song Is Your Christmas Gift” are both about the stress of being poor at Christmas.
No compilation would be complete without a hymn or two: The Duke of Norfolk’s “Hark the Herald Angels Sing” brings banjo and beatboxing together for an overall reverent take on the classic. I know, that sounds weird; you’ll just have to check it out.
A Very Merry Christmas Compilation takes Christmas music seriously, and the results are some incredible originals and traditionals. Since it’s varied in genre, you can put it on the stereo and let the wildly varied emotions of the season wash over you. If you sprinkled the tunes into your current list of standards, they wouldn’t stand out at all; they’re that good.
Full disclosure: I worked on The Duke of Norfolk’s tracks as a set of critical ears.
Retrospectives and “Greatest Hits” albums are an iffy proposition. Record labels have proven to not be very effective at gauging which songs are worthy, while bands themselves haven’t done much better. Thankfully, Neil Sabatino (he who is Fairmont, along with whoever else is in the room at the time) understands what makes his band excellent.
Sabatino’s recognition that great vocal lines, hooky guitar riffs and concise songwriting are Fairmont’s strong suit makes Retrospective easily the best collection of Fairmont tunes yet. And that’s exactly what’s supposed to happen.
The new “White Light” kicks off the set, and its Brit-rock undertones (Oasis!) are almost as surprising as the continuing shift back toward acoustic-led songs. The Meadow at Dusk EP featured acoustic guitars in an upbeat manner, but I can’t think of an album employing them to this level of seriousness or import since 2003’s Anomie. This, to me, is less of a throwback and more of a welcome home party: Anomie is the release that caused my much younger self to gush, “The members of Fairmont are on their way to becoming indie rock gods in the eyes of the public. I know they’re already immortalized in my mind.”
Regardless of this statement’s truth (I have reviewed every Fairmont release since Anomie favorably, if not exactly in as glowing terms), my early exuberance missed a fundamental element of Fairmont’s ethos: Sabatino and co. is more like the Mountain Goats than Death Cab for Cutie. Thoughtful songs with bitter-yet-clever lyrics dominate the proceedings here, as the songs primarily stick in the guitar-rock area of the spectrum. These songs, while occasionally going for the big pop hook, most often stay in the sleek, slick, low-to-the-ground mode.
However, Fairmont takes a swing at this theory by putting “Being & Nothingness” as the second track of the album and the first real “retrospective” track. Transcendence had a demonstrably theatrical bent, and this was best embodied in the 5:29 of “Being & Nothingness.” There are sleigh bells, choirs, lots of turns in the songwriting and a huge build-up to the end. The song feels far more personal than other Fairmont tunes, as the embattled bitterness is dropped for a more wounded anger over the loss of naivete. I have no idea whether it has any more connection to Sabatino than the violent escapist fantasy “At the End of the Movie,” or if the appropriated genre lends more “connection” to the tune, but for whatever reason it’s most immediately jaw-dropping song Fairmont has penned.
It’s little like the rest of the tunes on the album, but it’s the best one, and Fairmont acknowledges that. That’s gutsy and admirable, as evidence of how thoughtfully constructed this retrospective is.
The rest of the 50 minutes unfolds in a very enjoyable manner. Fairmont has gone through many iterations in the past ten years, and many of them are well-represented here. The Meadow at Dusk EP contributes two tunes that bring a levity to the album via calmer songs and the contributions of a great female vocalist counterpointing Sabatino. The cover of “Melt With You” (which IC featured on its 7th birthday EP!) is downright chipper. The rockers “Sometimes I’m Bitter,” “The Monster You’ve Become” and “Suspicion Haunts the Guilty Mind” are spread neatly throughout the album as anchors.
Retrospectives and greatest hits should serve to give people an intro to a band, and Fairmont‘s Retrospective: 2001-2011 will do exactly that for the uninitiated. For longtime fans, it accomplishes the rare feat in accumulating a great deal of the songs I actually want to hear from Fairmont. (I would have included “Happiness is a Million Miles Away,” but if I only have one quibble, that’s impressive.) If you’re into guitar-rock, thoughtful lyrics, Jean-Paul Sartre references or uniquely catchy songs, you’ll want to check this release.
Stephen Carradini and friends write reviews of instrumental music. We write about those trying to make the next step in their careers and established artists.