Future Islands: On The Water - Album Review

Future Islands
On The Water
Rating: Grrrr

Over the course of now three albums, Baltimore via North Carolina synth-pop outfit Future Islands has gradually moved from synth spazz outs on Wave Like Air, to more modulated dance workouts on In Evening Air, and now progress even further with On The Water, taking their synth based template and toning things down, without taking away from what makes them so special. And most of that is due to Samuel T. Herring's vocals and lyrics. Let it be said, that the main entry point to Future Islands is Herring's voice. You will either be completely on board with it, or will want to turn it off immediately. It is grandiose, over-the-top, and steeped in drama; each word positively dripping with meaning and portent. But it is just so fascinating and gripping you can't ignore it, and it is what makes this such a great band to listen to. With On The Water, Herring has scaled things back a little bit, not from wanting to fit within what people want him to sound like, but more because the music and lyrics call for more restraint. This is serious album about disintegrating relationships, and love gone afoul, and the somber tone of the lyrics finds its way into the music, with less dancefloor oriented sounds and more moodier pieces. Although I loved the dancier aspects of In Evening Air, this new approach takes their sound and aesthetic to new levels.

The new mood and feeling comes across loud and clear on opener and title track "On The Water." Soaring synths and a mid-tempo beat hold, but can't restrain Herring's voice that swoops and growls at a potential lover, imploring "can't I be your lover tonight."



While the album is comprised of mostly mid-tempo numbers, there is always room for Future Islands' trademark dance pop. "Before The Bridge" rushes forward on New Orderesque bass lines, whooshing synths, and a rather understated vocal from Herring that gathers in intensity:



"Balance" bears the briskest pace of all the tracks, with a sprightly beat and sparkling keyboards, with another subdued vocal from Herring.



"Close to None" begins as an ambient, drone number but from the clouds of synths come muted beats and those throbbing baselines, erupting into a swirl of synths and Herring's portentous vocals, barely able for him to keep them hemmed in.



This is not to say that the less beat driven tracks are any less enjoyable. Where Future Islands in the past tended to go full throttle, it is nice to see them pare things back and allow breaks from the beats. "Where I Found You" is a lovely ballad, with a melancholic sense of loss and regret, as Herring mourns the loss of a lover, hauntingly singing over and over "I loved you, and I still do," desperately trying to hold on to the past.



Likewise, the following song continues in that vein, "Give Us The Wind" floats along on pillows of synths, with Herring's melodramatic voice imploring and wishing for something to propel his failing relationship.



But probably the one song that truly takes you by surprise is the practically acapella track "Tybee Island," with Herring's voice stripped of artiface and laid bare with emotion. Singing almost in a whisper, his reticence draws you in so you can hear him. It is quietly devastating.



With Young Galaxy, Hooray For Earth, and Neon Indian, Future Islands is helping to bring synthpop into the 21st century, making it more adult and less campy. The focus here is on the songwriting and delivery and making sure the music heightens the mood and expression of the songs. Although Herring's vocals might be off putting, their distinctiveness, in my opinion, is the draw for this type of music. On The Water is a fascinating album that I can't stop listening to, and I hope this is just a foreshadowing of things to come from this band.

Rating Guide:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.