Released: January 20, 2009
Label: ATO Records/RED
Let’s face it: Jon Foreman is prolific. It’s not enough that he released 26 new songs over the last year, or that he’s written 70 songs with his band, Switchoot, for their new record. In fact, he has recently released yet another set of tunes, this time with Nickel Creek guitarist Sean Watkins on a side project called “Fiction Family.” What began as a one-song effort eventually evolved into an EP, then eventually settled into a full-length. Since Switchfoot and Nickel Creek have both been hard-working live acts over the past few years, neither Foreman nor Watkins had much time to spend recording together in the same room. Because of this, they ended up trading demos to each other via e-mail , piecing the songs together on the fly. What resulted is a surprisingly cohesive, eclectic set of tunes, unique from the sound of Switchfoot or Nickel Creek.
The record opens with “When She’s Near,” a Beatles-eque song that sets the early tone: acoustic guitars, light percussion and soaring vocal melodies. It is easily the most accessible song in the collection, with radio-friendly pop hooks that would make The Fab Four proud.
As a stark example of its versatility, however, the album shifts seamlessly from the slick “When She’s Near” to the schizophrenic “Out of Order.” Given Foreman’s recent interest in odd (or even non-existent) time signatures in his solo albums, the song doesn’t surprise as much as it would if it were released a few years earlier. Watkins’ work takes center stage for this number, showcasing the guitarist’s uncanny ability to pick at a frenetic pace.
The next few songs slow down the pace, beginning with the somber, heart-wrenching “Not Sure,” a solid, country-tinged, Watkins-sung acoustic song about the doubt that comes after a break-up. Foreman returns on the next few songs to spin a tale of “Betrayal” and even channels Abbey Lincoln in a haunting cover of “Throw It Away.” The effort on this particular track leaves a little bit to be desired, with Foreman’s lazy vocals leaving one a bit confused and ultimately depressed.
But he does rebound, and the album ends on a solid note with “Mostly” and the anthemic “We Ride,” carried out by Foreman’s decidedly more experienced vocals. “Look For My Baby” officially ends the record, although it clocks in at just a little over 90 seconds. With a saloon/diner feel laid under Bob Dylan-like vocals, it’s definitely more than just an extra hidden track and can stand alone as a legitimate (albeit short) song.
This album will likely surprise most fans of Switchfoot or Nickel Creek upon first listen. Aside from the music, there are a lot of “noise” moments, where spaces in-between select songs are filled with horns, toy pianos, and other occasional slightly disturbing horror-film elements. The listener will have to make an effort to ignore these unnecessary fill-ins, as they tend to distract from the actual music. It also may take a few listens to truly grasp the fact that what Sean Watkins and Jon Foreman have here is a collection of finely-crafted, well thought out tunes. One of music’s most talented acoustic guitarists and one of the more gifted songwriters on the planet respectively, Watkins and Foreman have spent many years out of the public eye honing their craft. It’s time they are brought out of hiding.
