Category: Blog

Favorite Songs: Catalog, Dialogue, A2, Xvanos

FCC Clean

As hilarious as it sounds, Froth was conceived from an ironic joke. An idea from two El Segundo, California friends Joo Joo Ashworth and Jeff Fribourg, who would release publicity photos and stories from the road into the ether without ever performing or recording anything tangible. An LP was in the works that would feature 20 minutes of nothing at all…silence, which would be pressed on vinyl with the help of a friend, curious to see how this mockery would pan out. Though there was the concept of a real band, in actuality there wasn’t one. At least not one that transcended into reality from the humorous minds of two buddies.

Fate seemed to intervene in 2012 when Fribourg, a music enthusiast, put together a small festival and one of the acts would have to cancel. Looking to fix the problem, Fribourg and Ashworth stepped in to give the newly dubbed Froth the chance to see some action. Assisted by bassist Jeremy Katz, who had only just bought a bass the previous week, and drummer Cameron Allen, Froth put on a disastrous performance but it was the start of something real and authentic.

Fribourg, who was the initial guitarist, had been replaced before Froth recorded its second record. Then that replacement was replaced by Nick Ventura in 2015 and the band then toured extensively across the US and the UK.

Now with their fourth release and second full-length, Froth’s Duress continues the quest of perfecting a sound that is not quite psychedelic and escapes just outside the realm of garage-rock. Though they have been said to be going more to the route of dream pop, I’m not really so sure. There is a lot to unpack with this band as there are many layers to comprehending the music, though it is still packaged in simplistic containment. 

The opening track Laurel is a great introduction to the sound and feel of the album. Two guitars work in unison to create a montage of the satisfying arrangement, with weird stompbox effects and bends that kill. 

Detail is abundant on the record, with every space and every second accounted for. There are some cool intros by varying electronic devices, whether that be by an omnichord or the keys, which are also used as cool segways into other parts of the songs. 

Dialogue is an intriguing one. It has a more traditional rock vibe, with its elegant cleans and sharp dirty riffs that cut through with single notes and more killer bends. The main melody is echoed by the keys which eventually paves the way to an imaginative bridge that just plain jams with two-guitar harmonies that bring the song to an abrupt stop. 

One thing that really got me into this band was checking out some of their performances on YouTube. Seeing them do their thing in a live setting makes you appreciate them so much more. Rather than having to soak in the music to get past the slight weirdness of it, seeing them play together instantly immerses you in a fascinating experience. These dudes just rock out. That’s it, nothing more and nothing less. Be sure to add this one to your library and give it a listen. 

– Justin Capoccia

Favorite Songs: I’m Not Your Victim

FCC Violations: It Was To Be You, I Am Goddess

UGHHHH! I’m sorry I just can’t…but I guess I have to. Disclaimer: I know not much of electronic and I feel that my position would not give you a fair and balanced review of this album. With that being said, I’m going to give you one anyway. 

LAL is a Toronto based electronic duo that has been said by cultural intermediaries to be artists that have been movers of the underground Toronto scene. The tandem has numerous releases under their belt with Dark Beings being their sixth full-length album. From what I gather, this album is one that features numerous other musicians within their community including musicians, producers, and even a design team. Pretty cool in its own right, it still isn’t enough for me to like it but I will always give credit to where credit is due. They’ve managed to stay relevant for almost two decades and that deserves praise no matter my opinion of the art itself.

Getting back to the album, I can dig the harmonizing vocals with Rosina Kazi taking the highs and Nicholas “Murr” Murray taking the lows. Other than that, I’m grasping at straws here. Have you ever seen that ‘99 teen movie She’s All That? There’s a part where Freddie Prinze Jr tries to get to know Rachel Leigh Cook’s character, aka the nerd and watches her partake in some kind of performance theater where there is a social lesson to be learned, no matter how obscure. Obviously, Prinze Jr. is cringing in his seat but gives it the benefit of the doubt. That’s kind of what this reminds me of. I get that there is a deeper meaning to the music but I can’t get on board. 

I Am Not Your Victim did strike my fancy somewhat. I dug the way the lyrics were put over the music. It has a cool bass line but it’s probably coming from some kind of electronic device that’s not an electric bass. 

I’m having conflicting ideas. LAL has managed to retain a following but I’d also label this music to be within a utilitarian market, meaning it’s in the background to the forefront of something else during a listener’s experience. You know, like if you go to a coffee shop for the purpose of gettin’ that caffeine fix but there’s also a band or solo artist playing that you had no idea would be there but you take it in nonetheless though it is not your focal point. 

So here I am with my scattered but shameless take. Don’t take my word for it though. Check it out if you’re into this type of music. LAL is doing something right. 

– Justin Capoccia