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In Our Bones
(Princess Records)▼ Article continues below ▼
”Melodic vocals and progressive fx that demand active listening”
Death Cab’s Transatlantisim is a masterpiece of early-2000s indie. Besides its near-flawless production, that record touched so many because of its genuineness, its ability to make you both sad and relieved simultaneously. Nearly a decade later, The Farewell Circuit has achieved this same kind of emotional conflict with In Our Bones, a definite heartstring puller.
The Farewell Circuit boldly puts forth their DCFC inspiration with opening title track “In Our Bones (Abandon Your Arms)” (think the industrial percussion of Transatlanticism’s title track). Gradually the record takes its own shape, therapeutically repetitive with endearing lyrics heard on “10.08.10.” “Guard” similarly achieves this gentle glide with an Alexi Murdoch-style acoustic relying heavily on the melodic structure to portray innocence.
TFC throws the album midway through its course into a phase reminiscent of Broken Social Scene’s Feel Good Lost with “KDL,” a direction of haunting but glorious studio effects that place the listener in a world of limbo. We’re taken out of that waiting room soon, however, with “The Light,” and into a new phase of some harsher sound: more viscous bass, reverb, and a bit of syncopation that keeps listeners on their toes.
Ben Gibbard returns to haunt the record on “Exodus,” this time channeling The Postal Service. And after its most intriguing percussion on “Run For The Hills,” the record is bookended with another title track installment, this time titled “In Our Bones (Pick Up A Plow),” to declare In Our Bones less of a collection of tracks and more of a novel to be read.
Produced by The Farewell Circuit and Brett Bullion
Mixed and Engineered by Brett Bullion
Mastered by Huntley Miller