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At the Reader we typically like to focus on Twin Ports bands and artists, but at this time we’re a little low on local albums so this gives us a good chance to take on some of the CDs we’ve received from our neighbors to the South in the Twin Cities.
Usually when approaching a Twin Cities album we try to do a review in conjunction with a band playing up here, if there is an artist involved with the project that used to live in the Twin Ports or if we’re truly impressed with a new act and think that listeners should know about it. With Fathom Lane, they fall into the later category.
Fathom Lane demonstrates everything we like to see in an album with this self titled release. There is originality, well executed production and musicianship that all comes together to create a well done listening experience. The band consists of Michael Ferrier (vocals, guitar, Rhodes, percussion), Ashleigh Still (vocals and piano), Ben Glaros (electric guitar), Shane Akers (lap steel and dobro), Brian Roessler (bass), Pete Sands (mellotron, piano, organ, accordion), Peter Hennig (drums and percussion). They also bring in live string quartets on certain songs.
Fathom Lane describes themselves as indie-rock or avant-rock and this is somewhat apparent in some of the tracks, but there is really a lot more going on than that with this music. The album opens with the track “Lazy,” which seems to be more of a jazzy/fusion grooving pop song. The bass starts off the song, but it is held down by the organ which is accented by the other instruments in the band in a tasteful palate of sounds. The band is fairly new having founded in 2012, but their sound is very well put together.
With the next track, “Sugardown,” the band reveals another aspect  of their sound; it practically borders on country but has a definite alternative feel. The strummed acoustic, the slow played chords of the electric and the lap steel in the background gives it a little bit of a country/folk feel. Although the musicianship on the album is carried out well, it’s the interacting vocal parts of Ferrier and Still that really make this album. The timing and placement of Still’s backing vocals really nail the melodies down hard. Although Still is backing up Ferrier about as good as it can be done, it’s the production that ends up taking it a step further by putting several harmonizing layers of her vocals on top of each other on this song.
The song, “Dream Her Name,” is gloomy yet mesmerizing. The song is definitely experimental and it’s hard to compare it to anything. Organs and other keys are the primary instruments in the song, the percussion starts with subtle yet pensive brushing sounds that sounds like sand blocks or maybe brushes on a snare. The song is eerie, at some point later in the song the percussion is panting breaths. Again the highlight of song is the vocal work between Ferrier and Still. Still perfectly shadows the lines of lyrics by Ferrier who has an intense effect on his vocals. The feel of the song gets even creepier with the subtle panned whispers by Still. “Dream Her Name” needs head phones to fully pull out what’s going on with it.
The album has one cover on it, “Perfect Day,” by Lou Reed. We’re most familiar with the song from the Trainspotting soundtrack and would recommend it as essential listening. In this version, the lines of lyrics are shared by Ferrier and Still, where they meet with the chorus parts. It doesn’t stray too far from the original version as far as tempo and what’s going on instrumentally all the way down to the string arrangements in the breakdown towards the end.
Fathom Lane continues an experimental approach with “Ache Me,” which has choppy repetitive vocals in the verse parts of the song which backs off into an equally repetitive swaying chorus. The song really hinges on the vocal work and shows that this band is all about creating something different.
The song, “The Nightshade,” goes back to a more slow indie/country/folk song. The soft and honest vocals once again drive this mellow and sentimental tune. What really makes the song amazing is the addition of strings by The Laurels String Quartet towards the last half of the song. Two violins, a viola and cello definitely make the desired sentimental feel they were going for on this song.
Another thing of note on the album is the production of “Grey Dress.” The band slips back into a more mellow jazz/pop feel, but this gives way to perhaps the most heavy part on the album, a funky mix of noise rock enters at around 2:30 into the song with guitar feed back, string scrapes and the hardest hit drums on the entire album. This disappears almost as suddenly as it emerges straight back into a mellow and tranquil jazz/pop song.
One of the final tracks, “Jack Knife,” has probably some of the most interesting uses of whispering we’ve heard on an album. Still backs up Ferrier with whispers in the verse parts. The song comes close being indie rock, but there’s still a jazz influence. Towards the end of the song, there’s a refrain that is totally whispered by Still. It seems like it’d be easy to some how mess this up in the production or recording process, but it’s extremely effective and very cool.
The final track, “Golden Delicious,” falls back into a folk/pop song with a clean strummed acoustic and the chorus parts bring in a piano and Still’s vocal harmonies. It’s a very beautiful song and ends the album on a hopeful note.
Overall, Fathom Lane achieves something on this album that is not really common. They add experimental aspects without making any of the songs too out there. They mix these songs in with accessible songs that most anyone can appreciate. We enjoyed how they didn’t play a one trick pony on this album, but rather kept things switched up throughout. The musicianship carries this feel of both being innovative while accessible. What really tops it all off is the vocals by Ferrier and Still. There is nothing too heavy on this album, their voices are calm, almost sad, and Still’s voice swirls around Ferrier’s and carries an amazing impact. The production of the album and the way everything fits together between the instruments and how the vocals are displayed indicates that there was some thought put into it and it was delivered more or less perfectly. Keep an eye out for this band, they will eventually be playing a show up in the Twin Ports. Visit fathomlane.com for information on how to purchase the album.  

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