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Written by Kevin Hakansson
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Sunday, 24 June 2007 |
How Far Our Bodies Go
Sabot Productions
C
Like many bands, Fake Problems started through the vision and effort of a singular member. |
 Originally intended as a solo project for singer/guitarist Chris Farren, a few member additions soon turned Farren’s one man band into a full-fledged alt-country/folk collective. What makes Fake Problems notable, though, is that they top off such a formula with a decided punk influence. And while such a fashionable influence is noticeable throughout How Far Our Bodies Go, Farren and company don’t let it rip quite enough to become the Against Me! torch bearers it seems listeners and critics alike want them to be.
Though it may be dangerous to pigeonhole them this specifically, Fake Problems is consistently at their best on How Far when they’re really pushing the envelopes of speed, volume, and song structure. On “Crest on the Chest,” Farren wails about a trip through the deep South, seemingly singing the tale of chasing a girl on the road. Farren and fellow guitarist Casey Lee’s axes are constantly loud, distorted, and obnoxious, all the while perfectly backing Farren’s howl. | | Later on, Fake Problems celebrates with “Staying & Leaving as Living & Dying” and “Life’s a Drink, Get Thirsty.” The former is laced with horns and mandolin that contribute heavily to the celebratory party atmosphere that lead right into “Thirsty,” which, while not as freewheeling as its predecessor, is an infectious call to arms. | These songs don’t come till long after Fake Problems has presented their best. “Maestro of this Rebellious Symphony” is rife with some of the unique instrumentation that appears later, as sax, trombone, and fiddle intermingle with Farren’s caterwaul.
Unfortunately, beyond these few tracks, How Far contains a series of misfirings. While it’s certainly admirable for the band to maintain its folk influences, they simply don’t execute such songs very well. The opening title track is a perfect example. Farren’s vocals are whiny and out of place, and the gang vocalists that echo his canned lyrics aren’t much better. Next up, “Born & Raised” again illustrates Farren’s lyrical deficiencies. This one’s a borderline patriotic tale of a young man weighing his options for his future. It’s certainly a theme that’s been visited throughout the history of music, and unfortunately, it seems like Farren could have borrowed some of these generic lyrics from somewhere else as well.
On most of the remaining tracks, there are problems. Farren’s lilt-filled vocals distract from an otherwise inventive waltz in “Busy Bees,” while “To Repel Ghosts” is an almost numbing dirge.
Perhaps the most egregious gaffes come at the album’s end. “Oh Maria” is an overly sparse love song that’s lacking in any sort of creativity. And while “Para Tu” brings back some of the horns that made some earlier songs intriguing, it also ends the album as slowly and disappointingly as would seem possible. It’s a fitting end to an album that, while bubbling with potential, fails to live up to what it could be.
fakeproblems.com
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