The First Days of Spring

     I consider Noah & The Whale my hidden gem. Our intimacy reached the point where I became jealous and overprotective if I hear someone talking about the band, despite their popularity. However, as much as it kills me, I admit I hadn’t listened to every song from The First Days of Spring when first deciding to review the album. I tend to be a track listener, discovering music song by song and neglecting the larger work. Already this process has opened my eyes to the cohesive, flowing storyline that songs purposely paired together on an album can form.

     The First Days of Spring especially forms a storyline, which listeners can see play out in a 45-minute film also titled, The First Days of Spring. Lead singer, Charlie Fink created a narrative of stills and video while using only the album as sound, enhancing the audience’s overall emotional understanding. There’s much to be said about the beautiful effect of songs meshing with a visual plot; however, I must focus on the music to stick to my blog’s purpose. If you do wish to check out the film, I posted a link at the bottom of this page. Whether or not you enjoy the album, everyone should appreciate Fink for deviating from the typical process of a musician and applaud his success as a storyteller.

     Even without watching the movie, the album’s lyrics unmask the end of a relationship. That relationship belongs to Charlie Fink and his ex-girlfriend Laura Marling, a singer-songwriter and previous band member of Noah & the Whale. The opening track, named “The First Days of Spring,” had me expecting a light, upbeat mood coinciding with my yearly reaction to emerging from the cold, barren, and merciless winter onto a vibrant world. After listening, I find Fink does refer to spring in the context of new beginnings: “my life is starting over again.” However, fresh starts don’t necessarily mean better ones. A simple duo of guitar and violin allows listeners to zero in on the lyrics as he continues: “For I’m still here hoping, that one day you may come back.” This first song accomplishes its job of introducing the heartbreak up front. Still, all hope is not lost because as nature grows so does Fink with a goal of returning to the person his girl “used to love.”

     Upon listening to “Our Window,” I feel betrayed and deceived. The first track was just a false fantasy, meant to ease listeners into the real state of this broken relationship. Fink’s voice in “Our Window” shifts into desperation and solemnity mixed with eerie, gentle piano keys and a heavy bass guitar. Spring has become “cruel,” and the couple knows they can’t go on anymore. The next two songs demonstrate post-breakup stages. “I Have Nothing” begins with the plink of rain drops and a swaying melody, sending me to a melancholy setting with a bench swing, a back porch, and a stormy night. The depressing lyrics arrive with a numb Charlie Fink, whining that he has and loves nothing and no one anymore. Then, “My Broken Heart,” makes an abrupt flip to the acceptance stage. A song that toes the line between folk, smooth jazz, and rock with its mashup of instruments, Fink sings, “there’s nothing you can do// I’m impenetrable to pain.”

     This album interests me with its rigid structure, separated into two mirroring sections. The ordering starts with four songs, followed by “Instrumental I,” “Love Of An Orchestra” as a climax, then “Instrumental II,” and another four songs as the second bookend. “Love Of An Orchestra” begins with a belting church choir, making me think Spotify had randomly switched albums all of the sudden. The backup vocals continue through the song and are met with upbeat strings, making Charlie Fink’s voice unrecognizable. Personally I don’t understand why the band included a song that urges me to stand up and do a goofy jig while its message remains somber with, “if you gotta run, run from hope.” Perhaps “Love Of An Orchestra” illustrates the wonderful moment when you decide to throw the towel in, let go of all your cares or worries about love, and rock out to some gospel music.

     The album’s second half is downhill from there. Actually in terms of quality, I would say that the second half is uphill from “Love Of An Orchestra” because Fink returns to his easy, relaxed sound that is less of a production and more of a therapy. However, regarding the artist’s projected feelings and mood, Fink settles down from his weird, overexcited breakdown of built-up frustration to become miserable and reflective once more.

Here’s a quick breakdown:

“Instrumental II:” A camera zooms out of the busy church scene (Love Of An Orchestra) as the ringing of bells and chimes evaporate. We are transported to watching Charlie Fink all alone again.

“Stranger:” Heavy beats filled with Fink’s regret of sleeping with someone else to move on.

“Blue Skies:” Fink admits his love for Marling hasn’t faded, but a crescendo of welcoming drums, a perky piano, and soft guitars have him predicting someday maybe it will.

“Slow Glass:” Fink states he was the victim in the breakup as Marling left him “stabbed and bleeding.”

“My Door is Always Open:” Fink essentially saying, “Thank goodness it’s all over, but hey, no hard feelings Laura. I’m just going to get back to chilling and strumming my guitar again.”

     For those who cannot sit long enough to read an entire review, I’ll help you out: this album has a consistent cloudy day mood minus the sporadic Hallelujah! moment in the middle. If you’re looking for a breakup album to dry your tears with a sugarcoated forecast of what’s to come, search elsewhere. Charlie Fink’s music doesn’t overflow with pain to the point where you pity him. It invites you into an honest journal of loss and remorse and lets you know it’s okay to wallow in your sorrow before picking yourself back up.

   

     

The First Days of Spring - A Film By Noah And The Whale from charlie fink on Vimeo.
https://vimeo.com/7799870