Father Figure, Fly Casket

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“We’re kind of brotherly now.”

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Meredith Schneider | August 10, 2016

Father Figure, Fly Casket [GODMODE]

On July 29th, Dale Eisinger (YVETTE, GODMODE) released a new LP called Fly Casket with his side project Father Figure. The experimental album was recorded by both Dale and Matt Fasano, and mixed and mastered by Robert Szmurlo in Brooklyn.

The LP starts out with “Zebulon (Je t’aime)”, a mish mosh of noise and instrumentals from all walks of life assembling in a semi-functional and also kind of not in a flurry of sound. It’s an interesting track to note, and an attention-grabbing intro to a promising work of art, closely followed by the second track, “The Angel Of Last Judgement”. This song starts in slow, with eery – almost otherworldly – sounds backing the wailing, gorgeous vocals. We are big fans of whatever is making the maraca sound in the background, and are curious about where some of the sound effects come from. But I digress.

On the third track, the guys took the liberty of stating something we all think at one point or another, titling the song “I Could Have Been Fatter”. The song is astute, making bold (and true) statements such as “every second is a confession” and “I could have been fatter if I tried.” The beat sets in on “The Road”, though, and there is no turning back. It had our heads bobbing – and our hearts soaring – from beginning to end. There really is no other elaboration that would do this track any justice.

“Omar” starts out with more of a vintage feel, with rambling acoustic guitar and reverb for days on the vocals. Bob Dylan-esque, and then sharply interrupted by almost disturbing sound effects and more wailing like that found earlier in the album, it’s certainly an experience. “Love In The Time Of Apocalypse” almost sounds like a traditional, slow love song. And then that sentiment is sharply interrupted – as it should be – at 0:54, with haunting chanting. It is then followed by the reading of literature of some sort, and the song feels like a direct narrative of the apocalypse. Father Figure absolutely hit the nail on the head matching the sound of the song to its name.

“Hillfire” starts out quiet, and you’re ready for something phenomenal to happen. Thank goodness Father Figure delivers with angelic vocals over harsh, bass heavy percussion. Everything culminates to a larger sound, and eventually wanes out. The final track, “Omnisex”, is a very large departure from the previous material, presented in the beginning almost like an arena-ready song, a la U2 and Coldplay favorites. It’s got more of a traditional rock sound to it, and the vocals would hold their own as a rock ballad. The most important aspect, however? “Omnisex” makes an impact. It leaves its mark on your soul, gently coaxing you to start the album again.

And so you do.

Says Dale of the project, “This is music we started making from impulse, in the dead of winter, a few months after we met. We’re kind of brotherly now.”

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