After a moody piano intro makes us believe where getting a possible upgrade in quality up pops ‘The Promise’ which shows us that where getting much of the same that FH debut did. Credit will be given in the form that musically they have improved. However FH major flaws on their debut was a lack of a memorable song and here the curse continues. As I said the instrumental side of the band has improved and inst so much in the background anymore. Unfortunately any change of any song leaving it’s mark is crushed by lead singer ‘Kenneth Nixon’ who’s woeful, generic lyrics and ability to stay at the same vocal tone throughout the entire album whether he’s singing the verse or the chorus brings the album down. Once again it’s a frustrating album from beginning to end with lacklustre song after another that most people will give one spin and proberly never listen to again because it gives you little to no reason to warrant repeat sessions.

Unfortunately FH are riding the coattails of a cover version of a rap song and still have not forged a sound of their own that warrants attention on any level by any well seasoned music lover.

1. Intro
2. The Promise
3. Wake Up
4. Bittersweet Sundown
5. WarZone
6. You Stupid Girl
7. Weight of the World
8. Fool with Dreams
9. Back to Go Again
10. Playing with Fire
11. Palace of Words
12. Photographs & Gasoline
13. The Burn

Song To Try Before You Buy: The Promise, Photographs & Gasoline, The Burn

Song To Avoid: Wake Up

Opener “1, 2, 3, 4” introduces the album, with horns blaring and catchy lyrics layered over the track, before diving headfirst into the aforementioned single. It’s all good, and here, in the context of the album, ‘The Dream Team’ fares better than when taken as a single track. It’s mood makes sense, and it’s niggling little faults fade away.

‘Don’t Worry Baby’ is Modest Mouse-esque in it’s construction (which could be said about a sizeable chunk of the album), shaking up the sound and adding even more variety to an already hectic album. A major compliment to give Fake Problems is how original everything is, the album maintaining a distinct feel right through but still managing to mix the sound up with each song. There isn’t room to become familiar enough to bore of it. It seems carefully crafted to hold your interest, and doesn’t rely on cheap tricks to succeed in this.

Another thing to mention is how happy and fun the majority of the album sounds, even when dealing with more difficult or morose lyrical subjects. Indeed, “The Heaven and Hell Cotillion” makes the idea of going to hell sound positively riotous, with it’s countyfied pop layers and quirkyness.

The rest of the album carries on in this manner. The level of originality is kept up, the quality of every song, regardless of the difference in sound, is as high as they come. There isn’t a bad song here, with everyone a contender for ‘Best Of Album’; the winner would likely be determined on your mood whilst listening. At this exact moment, my vote goes to ‘Alligator Assassinator’, for it’s sheer lyrical ingenuity, stage-show production values and lavish music. It’s excellent.

Even when the album slows the pace, it works; songs such as ‘Tabernacle Song’ and ‘There Are Times, though more relaxed, simply complement the more energetic moments.

For fans of Modest Mouse, The Hold Steady and anyone who likes a quirkyness and a sense of fun with their music. It’s like nothing you’ll hear this year, I’ll bet. I honestly don’t have a bad thing to say about it. Faultless.

Rating: 5 out of 5 stars

But maybe that’s the point. The odd word i’m picking it up seem to suggest a strong political agenda here (Along with the song titles; ‘I Am Going To Kill The President Of The United States’ being the most straight forward) so maybe venting is the main thing on the agenda here. This album isn’t for your entertainment. It’s here to say something, to make a point…it’s just a pity that what it’s saying isn’t clear and it’s points are lost in a sea of yelping.

The music itself is thrashy punk, which adds credance to the vocal style, but can’t really justify it. It’s genuinely difficult to listen to at times, and not just because it’s screaming, but more because the concentration needed tends to wander off. As exhilerating as it first sounds, it quickly becomes repetitive. There isn’t alot to distinguish between each track, especially early on. ‘This Song Is About Being Attacked By Monsters’ stands out, simply because it seems a more considered track. The throat-shredding vocals are still present, but there is more structure, more to actually enjoy, and the sound really benefits from it compared to earlier tracks.

This continues through the next few tracks, until ‘My Lovenote Has Gone Flat’ brings back the repetitiveness. It’s a pity, because the few tracks before were starting to find their footing. However, it’s clear that the sound would benefit immesurably by letting the music shine through over the vocals a bit more. On almost every track, the vocals take precedent, and they are just not clear enough to carry the album.

‘Bodysnatchers 4 Ever’ is a late highlight, the energy in the vocals and the music finally fitting and coming off as something altogether better than most earlier tracks.

Rating: 3 out of 5 stars
For fans of thrashy, hard-edged punk; The Letters Organize, Amen, etc.

Portland. Oregon. Yup.

Anyway…they also make rough-edged, garage-y pop-punk (I’m terrible with ‘genres’…); which is lucky, because I know absolutely nothing about Portland. I’m sure it is lovely.

Their sound sits somewhere between early American Hi-Fi and The Hold Steady – full of upbeat guitars, personal lyrics and quirky inventiveness. The three-piece manage to instil a certain charm to their music that runs right through the album, a sense of fun that is all their own even through the more morose lyrical flourishes. “When I Died” kicks things off and sets the mood nicely, and the rest of the album typically follows suit, following a formula but not so strictly as to distract from the experience. It’s familiar yet different, and never falls into tedium.

Sounding like it was recorded in a basement, ‘Now We Can See’ is an early highlight, a brilliant example of the effectiveness of the bands low-fi mentality. A simple, chanted chorus fits nicely into the track, playing off the shouted verses and the rough, steady riffs.

‘At The Bottom Of The Sea’ slows things down a gear or two, and the change of pace is welcomed in the middle of such a hyperactive album. After that mellowed interlude, the immeasurably more upbeat ‘When We Were Alive’ kicks up the tempo again, with punky guitars and fast vocals that sounds like a live favourite in the making. It’s a highlight, despite it’s brevity, and will surely get people moving.

Regardless of the individual tracks, which all differ in small but noticeable ways; there is a certain feeling that flows through each note of ‘Now We Can See’. Everything is immediately fresh, even on the second or third listen, which is what successful bands are made of. There’s also a specific identity here, that I can’t put my finger on. Even at times where I’m left thinking ‘They sound like XXX!’, it’s not enough to note, and rarely lasts over the course of one whole song. For example, ‘How We Fade’ comes off a little like Bob Dylan, especially in the vocals, but they could by no means be accused of cribbing from Bob. Although, having said that…’You Dissolve’ comes close…

So, yet another garage rock band wearing their influences on their sleeve and sticking to a specific formula. The difference? (And also the reason for the high rating I’m going to give it…) – that ‘feeling’ I mentioned earlier. The one of fun, fresh, inventive, wholesome goodness.

Rating: 4 out of 5 stars

I suppose the above mutterings don’t sound as positive they should…but I would advise you to give it a listen, and then see if it all makes a little more sense. They’ve made a good album…you owe them that much.

‘Red Is For Danger’, the first song off the album, is a strong opener for Frontiers, one that establishes a confident tone held up throughout. Followed in much the same fashion by ‘Ghosts On The Underground’, which led me to think that maybe, just MAYBE, they didn’t have quite as many ideas as the confidence would suggest…but next up is the absolutely storming ‘Deal Me In’; a heavy, rocking anthem that any band would be proud to put out.

The next few tracks follow suit, mixing solid vocals with catchy, bouncing rhythms and very little respite. This leads me to believe MAC would be an amazing live band. Pretty much need to get that sorted I think.

Conjuring up a sound something similar to Hell Is For Heroes and Hundred Reasons, ‘Hostage’ gives us another album highlight in a CD full of them. I’m something of a sucker for good British rock, it just seems to have more heart than American stuff, but rarely gets the recognition, so it’s possible I was always likely to love this. Not a weak track on show, an album full of fresh ideas, and an energy that’s missing in most of their contemporaries.

That said, ‘Accelerate’ has much in common with Left Side Brain (another criminally underrated Brit band) but this is a compliment of the highest regard, and MAC still manage to make it their own. The vocals are not typical, but accomplished, and give the band a rough edge they certainly benefit from.

‘React’, for me, is a throwback to the oldschool pop punk, of Student Rick et al, and is therefore brilliant. Catchy chorus, uplifting lyrics, quick riffs and a simple drumbeat that doesn’t quit.

A quality album, never dropping below excellent, and the mark of a band who know their trade, their sound, and (most importantly) how to make me love them.

Rating: 5 out of 5 stars

Instantly excellent, varied, and endlessly listenable.

I’d like to give a little mention to the album art, too. It’s great. I’ve done zero research into it (i’m lazy, and google is so far away…), so i’ve no idea who created it, but I likes it.