Forest Fire releases new video ‘Passengers’; new album ‘Screens’ out now on FatCat

By on December 3, 2013


Filter has premiered Forest Fire’s new track “Passengers” from the band’s new album Screens out now on FatCat. The video was The video was shot & directed by the Forest Fire’s bassist/multi instrumentalist Galen Bremer. Forest Fire’s Mark Thresher told Filter, “We received a bizarre invitation to the studio of Dutch painter Maurice Thomassen. On a deadline to film a music video, we brought a camera & this is the result.” Forest Fire will be playing the Brooklyn Night Bazaar on December 6. The show is presented by FatCat, Insound and Kanine Records. More info can be found here.

New York City’s Forest Fire, led by vocalist/songwriter Mark Thresher, return this fall with Screens. With their third full-length, Forest Fire – now the quartet of Thresher, Natalie Stormann, Galen Bremer, and Robert Pounding – have found it.


“It” has been hinted at in previous releases – e.g. the howling languor of “Slow Motion”, from the band’s debut Survival (named one of Rough Trade Shops’ top album of the year for 2010), or vitreous mid-tempo dejection ballad “The News” from 2011’s FatCat issued Staring at the X (“You won’t get far,” Thresher sang, “with that look in your eyes”) – but Screens is pure lightning.


After some lineup adjustments that left the band leaner and more centered, Forest Fire partnered with engineer Jonathan Schenke (Parquet Courts, Dirty Beaches) possibilities they’d before only touched on, and to enable their new songs to breathe and stretch out.


That stretching out is quite literal in the case of album centerpiece “Annie,” an eleven- minute track that is wide but not sprawling, buoyed by motorik lope and ornate synths, that the band acknowledges owes a debt to the late ’70s output of not only Kraftwerk but Yoko Ono, Joy Division, Laurie Anderson, and their ilk; Sandy Skoglund’s iconic 1977 photograph Pink Sink is the cover.


From its darker, sparser, sonic landscapes, obsession with analog instrumentation, and movement-focused, heavily metaphorical lyrics, Screens finds Forest Fire hewing to this mood. But for all the record’s gratitude to the past, its aesthetic is just as much forward-looking, able to embrace the sunrise hooks of anthemic album opener “Waiting in the Night” and the Suicide-spooky synth-drone of “Cold Kind” as easily as “Alone with the Wires”‘s jangly stride and Leonard Cohen-frosted vocal delivery.


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Author: DaveHHM

Dave Luttrull: Owner/Editor in Chief of Hellhound Music. Star Wars nerd, Gamer, Destiny homer, blogger, writer and lover of all things music.