Music

Faunts: Feel.Love.Thinking.Of.

Second full-length from Edmonton's Batke brothers skews more toward "pop" than "dream", and pulls of the mean feat of being simultaneously great and run-of-the-mill.


Faunts

Feel. Love. Thinking. Of.

Label: Friendly Fire
UK Release Date: 2009-02-17
US Release Date: 2009-02-17
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Feel.Love.Thinking.Of. is one of those albums that are difficult to critique, because the good songs are so good and the other songs are so undistinguished. Depending on which track you're listening to, your entire angle is either "One of the year's best, man!" or "Erm, next!" Just about every album has its stronger songs and weaker ones, and of course the matter is always subjective. But this one, the second proper full-length from Edmonton, Alberta's Faunts, really does seem to have a dual personality, and not in a Speakerboxxx / The Love Below sort of way.

It may seem odd that a band get critical recognition simply by being Canadian and indie. However, Arcade Fire, the Stills, Wolf Parade, Broken Social Scene, and others ensured there was a legitimate scene into which Faunts released their debut, 2005's High Expectations / Low Results. The expansive, "dreampop" sound fit right in and garnered the band a following. Further exposure was gained through the soundtrack of the Xbox 360 game Mass Effect, resulting in 2007's M4 EP and the following year's remix collection.

The appearance of these potential place-holder releases so early in the band's career might have suggested Faunts had already run out of ideas. But the band was weathering personnel changes and carefully re-tooling their sound for Feel.Love.Thinking.Of.. Now a five-piece with three Batke brothers; Tim, Steven, and Rob; as well as long-time drummer Paul Arnusch and new bassist Scott Gallant, Faunts sound tighter and more straightforward than before. You could say there's more "pop" and less "dream", though atmosphere and brooding are in no short supply. But in addition to the familiar dreampop / shoegaze touchstones, the influence of synth pioneers Kraftwerk, New Order, Depeche Mode, and others is unmistakable. That seems to be the case with half the "indie" bands around these days, though Feel.Love.Thinking.Of. is definitely not "retro". The stricken-by-love lyrics, ping-ponging electronic effects, described by the band's own presskit as "mathematic", and stilted drumbeats all put the album squarely in the 21st century.

Feel.Love.Thinking.Of. is bookended by a couple great, uptempo electro-indiepop songs. The title track is propelled by rapidly-pulsing synths and drums, leading to and a catchy-as-hell, brittle-as-glass chorus you could listen to all day. Closer "Explain" builds on navel-gazing guitars, a danceable rhythm, and the Batkes' soft, gentle voices all anchored by a brilliantly emotive bass hook. While some tracks on High Expectations / Low Results were criticized for overstaying their welcome, "Explain" makes good, ponderous use of all its six minutes. Sunrise/set not included. If you go by these first and last impressions, this is a great album, indeed.

In the middle is where the quality gets muddled. "It Hurts Me All The Time" is the most obvious move toward a radio-friendly sounds. There's the pulsating rhythm again, but this time it's offset by a breezy, strummed chorus, suggesting a better-than-average Pernice Brothers track. The title leaves little to the imagination in terms of subject matter. Safe to say, Batke's not talking about chronic back pain, but at least the sentiment is straightforward, not shrouded in would-be poetry. The angular, more aggressive, and vaguely unsettling "Out on a Limb" is another winner, bassist Gallant again providing an edge.

But there's also evidence Faunts possibly were struggling for material, or at least having a tough time deciding on a direction for that retooling. "Lights Are Always On" has plenty of big chords, skyscraping guitars, and shimmer, but not much substance to match. You can tell instrumental "Das Malefitz" is Krautrock-inspired, because the title is in German! But the track sounds more like a remix of the original Knight Rider theme. "I Think I'll Start A Fire" decides not to, instead approximating '80s soft-pop dreck. "Alarmed/Lights" does a good approximation of New Order's Movement sound, but to no apparent end. Hyphenating a song title does not give you free reign to drone on for seven and a half minutes. These weak links make you wonder exactly which band you're listening to, and come close to killing off the buzz of the opening highlights.

Is Feel.Love.Thinking.Of. a textbook example of the "decent album that would have made a great EP"? Quite possibly. You could argue the atmosphere sustains the album even through the identity-challenged weak spots. Or you could argue that's what "skip" buttons and per-track downloads were made for.

6

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Editor's Note: Originally published 30 July 2014.

10. “Bedlam in Belgium”
(Flick of the Switch, 1983)

This is a massively underrated barnstormer from the boys off the much-maligned (unfairly, I think) Flick of the Switch. The album was missing Mutt Lange, but the Youngs did have his very capable engineer, Tony Platt, as co-producer in the studio at Compass Point in the Bahamas. Tony’s a real pro. I think he did a perfectly fine job on this album, which also features the slamming “Nervous Shakedown”.

But what I find most interesting about “Bedlam in Belgium” is that it’s based on a fracas that broke out on stage in Kontich, Belgium, in 1977, involving Bon Scott, the rest of the band, and the local authorities. AC/DC had violated a noise curfew and things got hairy.

Yet Brian Johnson, more than half a decade later, wrote the lyrics with such insight; almost as if he was the one getting walloped by the Belgian police: He gave me a crack in the back with his gun / Hurt me so bad I could feel the blood run. Cracking lyrics, Bon-esque. Unfortunately for Brian, he was removed from lyric-writing duties from The Razors Edge (1990) onwards. All songs up to and including 2008’s Black Ice are Young/Young compositions.

Who’ll be writing the songs on the new album AC/DC has been working on in Vancouver? AC/DC fans can’t wait to hear them. Nor can I.

 
9. “Spellbound”
(For Those About to Rock We Salute You, 1981)

"Spellbound" really stands as a lasting monument to the genius of Mutt Lange, a man whose finely tuned ear and attention to detail filed the rough edges of Vanda & Young–era AC/DC and turned this commercially underperforming band for Atlantic Records into one of the biggest in the world. On “Spellbound” AC/DC sounds truly majestic. Lange just amplifies their natural power an extra notch. It’s crisp sounding, laden with dynamics and just awesome when Angus launches into his solo.

“Spellbound” is the closer on For Those About to Rock We Salute You, the last album Lange did with AC/DC, so chronologically it’s a significant song; it marks the end of an important era. For Those About to Rock was an unhappy experience for a lot of people. There was a lot of blood being spilled behind the scenes. It went to number one in the US but commercially was a massive disappointment after the performance of Back in Black. Much of the blame lies at the feet of Atlantic Records, then under Doug Morris, who made the decision to exhume an album they’d shelved in 1976, Dirty Deeds Done Dirt Cheap, and release it in-between Back in Black and For Those About to Rock.

In the book Phil Carson, who signed AC/DC to Atlantic, calls it “one of the most crass decisions ever made by a record-company executive” and believes it undermined sales of For Those About to Rock.


 
8. “Down Payment Blues”
(Powerage, 1978)

This is one of the best songs off Powerage -- perhaps the high point of Bon Scott as a lyricist -- but also significant for its connection to “Back in Black”. There are key lines in it: Sitting in my Cadillac / Listening to my radio / Suzy baby get on in / Tell me where she wanna go / I'm living in a nightmare / She's looking like a wet dream / I got myself a Cadillac / But I can't afford the gasoline.

Bon loved writing about Cadillacs. He mentions them in “Rocker” off the Australian version of TNT and the international release of Dirty Deeds Done Dirt Cheap: Got slicked black hair / Skin tight jeans / Cadillac car and a teenage dream.

Then you get to “Back in Black”. Bon’s dead but the lyrics have this spooky connection to “Down Payment Blues”: Back in the back / Of a Cadillac / Number one with a bullet, I’m a power pack.

Why was Brian singing about riding around in Cadillacs? He’d just joined AC/DC, wasn’t earning a lot and was on his best behavior. Bon had a reason to be singing about money. He was writing all the songs and just had a breakthrough album with Highway to Hell. Which begs the question: Could Bon also have written or part written the lyrics to “Back in Black”?

Bon’s late mother Isa said in 2006: “The last time we saw him was Christmas ’79, two months before he died. [Bon] told me he was working on the Back in Black album and that that was going to be it; that he was going to be a millionaire.”

 
7. “You Shook Me All Night Long”
(Back in Black, 1980)

Everyone knows and loves this song; it’s played everywhere. Shania Twain and Celine Dion have covered it. It’s one of AC/DC’s standbys. But who wrote it?

Former Mötley Crüe manager Doug Thaler is convinced Bon Scott, who’d passed away before the album was recorded, being replaced by Brian Johnson, wrote the lyrics. In fact he told me, “You can bet your life that Bon Scott wrote the lyrics to ‘You Shook Me All Night Long’.” That’s a pretty strong statement from a guy who used to be AC/DC’s American booking agent and knew the band intimately. I look into this claim in some depth in the book and draw my own conclusions.

I’m convinced Bon wrote it. In my opinion only Bon would have written a line like “She told me to come but I was already there.” Brian never matched the verve or wit of Bon in his lyrics and it’s why I think so much of AC/DC’s mid-'80s output suffers even when the guitar work of the Youngs was as good as it ever was.

But what’s also really interesting about this song in light of the recent hullabaloo over Taurus and Led Zeppelin is how much the opening guitar riff sounds similar to Head East’s “Never Been Any Reason”. I didn’t know a hell of a lot about Head East before I started working on this book, but came across “Never Been Any Reason” in the process of doing my research and was blown away when I heard it for the first time. AC/DC opened for Head East in Milwaukee in 1977. So the two bands crossed paths.

 
6. “Rock ’N’ Roll Damnation”
(Powerage, 1978)

It’s hard to get my head around the fact Mick Wall, the British rock writer and author of AC/DC: Hell Ain’t a Bad Place to Be, called this “a two-bit piece of head-bopping guff.” Not sure what track he was listening to when he wrote that -- maybe he was having a bad day -- but for me it’s one of the last of AC/DC’s classic boogie tracks and probably the best.

Mark Evans loves it almost as much as he loves “Highway to Hell". It has everything you want in an AC/DC song plus shakers, tambourines and handclaps, a real Motown touch that George Young and Harry Vanda brought to bear on the recording. They did something similar with the John Paul Young hit “Love Is in the Air”. Percussion was an underlying feature of many early AC/DC songs. This one really grooves. I never get tired of hearing it.

“Rock ’n’ Roll Damnation” was AC/DC’s first hit in the UK charts and a lot of the credit has to go to Michael Klenfner, best known as the fat guy with the moustache who stops Jake and Elwood backstage in the final reel of The Blues Brothers and offers them a recording contract. He was senior vice-president at Atlantic at the time, and insisted the band go back and record a radio-worthy single after they delivered the first cut of Powerage to New York.

Michael was a real champion of AC/DC behind the scenes at Atlantic, and never got the recognition he was due while he was still alive (he passed away in 2009). He ended up having a falling out with Atlantic president Jerry Greenberg over the choice of producer for Highway to Hell and got fired. But it was Klenfner who arguably did more for the band than anyone else while they were at Atlantic. His story deserves to be known by the fans.

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