Philly gothic psych-rockers Far-Out Fangtooth befittingly released their follow-up to 2011’s Pure & Disinterested two days prior to All Hallows’ Eve via Siltbreeze Records. Beginning in the swirl of psychedelic vertigo, Borrowed Time, which was produced by Justin Pittney (Residuels, Moon Women) and mixed by Jeff Zeigler (The War on Drugs, Kurt Vile, etc.), is awash in lush vocals and buzzing reverb that sounds out like an audible projection extracted from the astral plane.
“Bow Your Head” is an impeccable start to Far-Out Fangtooth’s latest LP. Evocative and spellbinding, the song entices listeners within seconds with its soundscape comprised of unapologetic magnetism. Beginning within seconds, the track reveals itself as the probable witchy lovechild of the Age of Aquarius’ zeitgeist and millennial garage. Simultaneously crisp and fuzzed-out, “Bow Your Head” slips into “Mother Nature Fetish.” To the backdrop of tambourine and drums, melodic octaves reminiscent of chants carry the track from beginning to end. In its final moments, like a ghost, “Mother Nature Fetish,” lingers, giving listeners an appropriate yet brief silence to contemplate the weight of its passing as the album progresses towards “Beyond Your Bones.” Beneath the din of shoegaze gloom, “Beyond Your Bones” taps into an ancient rhythm once present in tracks by acts like the 13th Floor Elevators, The Stone Roses, and My Bloody Valentine. In the spirit of Jesus and Mary Chain’s brooding aura and introspective strength, “Beyond Your Bones” and “Green Hands” feel like an emotive extension of Psychocandy’s core, comprised of exuberant melancholy and orchestral finesse. Joseph Kusy’s diction feels prophetic, enhanced by strategic repetition and riffs. Further cultivating what Far-Out Fangtooth defines as “neo-psychedelic,” “Green Hands” is the perfect example of the genre’s evolution and its forthcoming future. With timing that tames the listener, the song unfolds with patience, gradually consuming its audience and their attention with sincerity and meticulous structure.
“Admit It,” with post-punk instrumentation, conjures moods reminiscent of Echo and the Bunnymen’s “Thorn of Crowns” meshed with Ty Segall’s “My Sunshine.” Much like the tracks that precede it, the tune crafts a lore of its own, opening with what feels like a nearly instrumental prologue. Expanding towards the minute mark, “Admit It” couples a gradually quickened backbeat with suitably transcendent lyrics and trippy shouts. Poignant lines like “can you find a home” are near universal, connecting fans to the track’s narrative until its staggered end. “Scalp” feels thankfully eternal, and takes advantage of deliberate echoed vocals – each presenting themselves as whispers alongside mournful chords and cymbals. Arguably sharing a kindred undertone as found in earlier cuts by Chelsea Wolfe (“Mer” or “Bounce House Demons”), Borrowed Time’s third to last track is best experienced through multiple plays, while “Girl (Like You)” paints a portrait of a tortured lover aware of the ritual of love and lust. Neither desensitized nor sentimental, “Girl (Like You)” presents a pragmatic view of romance framed by the visceral and emotional implications its duration often implies.
The album’s end gradually unfolds through nearly cinematic distortion. Subtle though elongated, “Stretch/Lips” and its title as well as its instrumentation suggests juxtaposition, a duality of sorts, coupling progression with what at times feels like devolving melodies. Resurging halfway through its duration, “Stretch/Lips” fails to divert its listener. Ending with haunting screams, it fades to a well-executed end of the record, wrapping up an impressive evolutionary step in the band’s discography. – Dianca Potts
