Fasciinatiion, the new CD from The Faint, is like a
tickertape parade of electro-pop confetti and furling techno-pop spirals
flanked by endless groves of bulbous club beats. The sonic shards
drenched in robotic beeps, quirky zonks and boing trajectories are
reminiscent of Hot Chip, and the digital frosting is reflective
of Datarock. The album is rooted in Euro-clad club music and
gusty electronica that zips and doodles with a freehand stylizing
like The Chemical Brothers. The album never moves outside of
the dance pop/electronica framework, although lead singer Fink
has a deep-toned vocal register that is similar to Peter Gabriel,
which gives the tunes a toasty prog-rock glisten. Rounding out the
band are drummer Clark Beechle, bassist/guitarist Joel Petersen,
guitarist/bassists Dapose, and keyboardist Jacob Thiele.
Each track is railed in electronica elements that evolve while in
a state of flux so the dynamics are constantly changing their shape
like a pot of molten lava whose patterns of shooting bubbles have
a mind of their own. The automated morsels are impetuous and capricious
and the chord coordinates seem systematic. The digital squirts and
club beats wiring "Get Seduced" and "The Geeks Were
Right" weave electro-pop tapestries that are mind-numbing and
entrancing. The robotic bangles strewn across the phantom-like channels
of "Machine In The Ghost" are soaked in a soggy prog-rock
register, and the starchy shards seamed along "Fulcrum And Lever"
are coated in flashy techno-pop spirals. The music is an enticing
blend of machine-like mechanisms and organic substances as Fink pinches
the tunes with a human voice. "Mirror Error" is dissonant
sounding with squeezing frequencies and digital jettisons that move
haphazardly. The industrial-pop matting of "Forever Growing Centipedes"
is dotted in avant-curves of zipping chimes and whimsical beeps like
the sounds of a mechanical toy, and the strips of electronic bristles
bobbing up and down through "Fish In A Womb" are playful
and jolly. The sonic gusts making trails along "I Treat You Wrong"
create glaring mash-ups, and the clicking beats and swirling notes
of "A Battle Hymn For Children" sound like a Morse Code
with bushels of tattered bleeps emoting a gravitational pull.
The Faint's electronica icing and mobilizing digital beats dressing
the tracks on their latest CD, Fasiinatiion, are chronic and
confetti-like. The songs are tailored for dance clubs and legged by
bubbly tempos that keep the sonic components bobbing up and down infectiously.
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