tiny voices

All the way back in January I reviewed Say Hello to Sunshine and because that album kicks ass, I decided I should definitely listen to Finch's third full album. And so, a week or so ago, I finally did just that. I've dragged my feet on actually writing up my thoughts on 2014's Back to Oblivion, and though this is mainly because I've not written any Sound System posts for months and struggled against a lack of momentum, it also speaks somewhat to my lesser reaction to the album itself. Lesser in comparison to Finch's other releases, I mean. While my main takeaway from this album was similar to my initial impression of Say Hello to Sunshine-- that being, "this warrants further listening"-- it didn't take over my brain like the band's 2005 release did. After that review, I listened to those songs many, many more times, mapping their wavelengths to the weird little folds of my brain and soon bemoaning its obscurity in the online emo/pop punk/whatever community. After listening to Back to Oblivion, I had (have) the intention of digging deeper into the songs, but just haven't gotten around to it until today, prompted by sitting down and starting this post. I just wasn't grabbed as tightly this time around.

Now, if you're like me and you actually care to take note of the details of an album like its release date, you might wonder what was going on with Finch here considering this record came out in 2014, and its predecessor was all the way back in 2005. To make a long story short, the band weren't really getting along well enough to put out music for long stretches of time, and perhaps, the generally tepid response to their sophomore album exacerbated this problem. This persisted after Back to Oblivion was released as well, and to this day Finch has not put out a full album since, though they have shared some demos and previously unreleased recordings. All this to say, one wonders how nine years between record releases affects a band's performance. I'd say this question is especially pertinent for Finch, a group which experimented with and diverted their sound and vibe even just between albums one and two, which were only two years apart. The video that prompted me to finally listen to album three suggested that Back to Oblivion was a return to the band's style on What It Is To Burn... but I don't think I agree with that. I can hear the thread woven through the 2005 record in this one, and the lyrical approach is definitely more like Sunshine, though not as ill, or apocalyptic, or fascinating. There are clear distinctions and maturation as well, so really, if you go into this one expecting early 2000s-style pop punk hooks and "Letters to You" part two, you're getting swerved.

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Granted, my expectations for these songs were a step or two above the average level, so perhaps my feeling that this album just doesn't have as much capital-H Hype as the band's other work isn't truly accurate. That being said, what the album lacks in Hype, in hardcore, in energy, it makes up for in gentler, prettier musicality. There are moments and songs here that I would even describe as beautiful-- to name some tracks: "Murder Me," "Tarot", and the closer "New Wave." I think this softer exploration of their sound makes sense-- nine years had passed, all the guys in the band were older, and were less interested and/or less capable of going balls to the wall with fast tempos and blistering emotions. I can respect their choice to dial things back now and then because they can pull it off; it doesn't feel clumsy or inauthentic here. It might be unexpected, but it sounds like they know what they're doing. This depth, the range between heavy and soft helps make the album interesting and urges the listener to keep listening and get a better grasp on the songs.

Arguably, Back to Oblivion is a little lacking on hooks, or otherwise it could stand playing the hooks and cool riffs longer. I'd have appreciated a bit more indulgence in that area. I could see some people feeling the record is a bit all over the place, lacking cohesion. But I think it follows a certain flow from beginning to end: the title track starts out where one might expect, spends some time throwing around some hardcore energy, then gets a little more loose by mixing in the prettier stuff, and ultimately comes in for a soft landing. In that way the record is kind of a like a journey that ends in drifting off to sleep. I find it kind of sweet, actually. Finch isn't lighting the place on fire with this album, but you simply cannot hate it.

Some assorted notes and points of interest: Nate Barcalow is a great fucking singer. Listening to him is, once again, a joy. He still serves cunt now and then here. The album's bass tone is really nice and present, rather than a vague background element. There are several moments where the drums are front and center, essentially leading the mix, and this is only ever to the benefit of the songs and is not overused. There are not as many banger lyrics as in Say Hello to Sunshine but there are still a number of cool phrases and thinkers. "Play Dead" is a slowburn, wall of sound jam, and you should go listen to it. I get a kind of floating in space or staring and yearning at the stars vibe from the album in general, starting with the title track. The album's cover is really cool and would make a great poster. "Picasso Trigger" is a sick title; I don't know what "Inferium" means, or whether it refers to inferiority or inference. Even listening to the album only one complete time feels a little like getting a hug. Part of why I want to keep listening is to understand why that is.

Lyrics highlights for the word-lover in your life (AKA me):

Seven years of madness / four more for sting / separate the universe as I'm heading back to oblivion. - "Back to Oblivion"

This plague, a price upon my head / switch back, loosen up your thread / the underlining truth dissolving out of you. && Sterilize your view when you're further from the few. - "Further from the Few"

You murder me / so save heaven for what you really need. - "Murder Me"

As your colors reform / changing everything you know / stay your shape, move me / lines erase who we are. - "Picasso Trigger"

After the sun it's a love we have sold / time to transpose. && But at the core / I have become something greater than more. - "Play Dead"

A fragile hero makes a villain. - "Two Guns to the Temple"

Now you know the animal is inside us all / but you don't have to crawl. - "The Great Divide"

You say we're alien / it's cult emphatic / wrapped in static. - "Us Vs. Them"

You're sailing on / that's okay / I'll learn to swim someday. - "Tarot"

I could die tonight / so let's try tonight. - "New Wave"

R.I.P. Finch, you've made a home in the "obscure faves" part of my little black heart.