:: Track Listing

1. Intro
2. On & On
3. Harmed
4. Pitfalls
5.. Breet
6. He’s a DeepDeep Lake
7. Garrison
8. 11:11
9. Sick of the Shame
10. Like You Know
11. P.S.

:: Record Review

Film School

Film School
(Beggar's Banquet; 2006)

Rating: 68%
Combined Rating: 66%


I’m sitting here at my keyboard trying to think of ways to begin this review without mentioning the ‘80s. No one needs another holier-than-thou review that pines for days the reviewer himself barely saw. I suppose I could gloss over the whole issue, focusing on the fact that Film School tore up at 2005’s SXSW music festival, snagging a deal with the respected Beggars Banquet. I could focus on contemporary acts and draw complimentary parallels to label-mates the National, a band with whom they share certain tonal and lyrical similarities. (And, of course, just Film School just opened for them on a tour of Europe.) I could focus on their exceptional guitar work of the San Francisco-based quintet, namely the rich textures and soaring full sound they fashion.

But, if I were being honest (and I do try, gentle reader), I would eventually have to mention the '80s. Not any band in particular (okay fine, Echo and the Bunnymen, the Cure, the Psychedelic Furs and Joy Division), but just that general feel that contemporary acts I Love You But I’ve Chosen Darkness, Interpol and Calla have also vaguely appropriated from no one particular band, but from an entire era. And really, it’s become such a widespread trend it’s practically a mini-genre unto itself at this point. Calling this stuff “post-punk” just isn’t anywhere near specific enough anymore. Because these guys don’t belong anywhere near the dancy cartoon post-punk of Franz Ferdinand or Bloc Party (full disclosure: I like those bands). So until someone comes up with a better name, let’s call this noir-punk. Sure, it’s a slightly silly name, but it’s a slightly silly genre when you think about it. I think most of the inherent silliness in the genre comes from bands taking themselves far too seriously, and Film School teeters on that brink throughout their self-titled debut.

Dark, minor key soundscapes are made emotionally “deep” with lyrics that are just a shade too melodramatic. And it’s a shame because the guitar is, as I’ve mentioned, quite intricately layered, buoying expressive songs throughout. The band’s single, “On and On” is loaded with such flourishes and a catchy, Joy Division-esque chorus. “Harmed” continues in a similar vein and tone, only maybe a little too similar. “Pitfalls” seems to be a bit of a bump in the road before the songs soaring guitar-driven chorus comes in and obliterates Nyles Lannon’s mascara-on-sleeve singing.

“Breet” is one of Film School’s finest moments, featuring an upbeat guitar riff that rivals the Cure’s poppier moments. It also works as a change of pace on an album that gets a little too bogged down with similar sounding mid-tempo works. “11:11” is another standout track, featuring a dancy-beat and the band using it’s guitars to create a rich texture. Again the failing seems to be the non-descript lyrics the band has crafted that can’t seem to match its impressive instrumentals. The undercooked lyrics and the band’s verse-chorus-verse songwriting make what should be great songs feel staler than they should.

Maybe I’m being a little too hard here. Something tells me there’s a 20-year old version of myself hiding somewhere who would love this album, emoting right along with the melodramatic lyrics. And hey, if you love Calla and Interpol and other noir-punk bands like them you can probably add ten points to the rating above. Perhaps it’s an unreasonable demand, but I’m waiting for a band to take these seductive minor key guitars, rubbery bass lines and dancy drums and fashion a truly great album that will allow us to really forget the bands that inspired their sound. As far as this decade is concerned, I’d say Interpol’s debut came the closest to doing so. And I Love You But I’ve Chosen Darkness’ new album seems like it might have a shot as well. I don’t think it’s too much ask, at least I hope it’s not, because until we get bands who consistently bring new twists to these great old sounds these noir-punk records will just send us back to the originals, thirsty. Sean Ford :: 19 January 2006 |