Jon Foreman is best known as the sensitive rock-prophet front man of San Diego band Switchfoot. The band’s anthemic cries against rampant materialism and purposeless existence somehow struck a chord with just the sort of folks their songs depicted. MTV (a bastion, we would add, of rampant materialism and purposeless existence) even placed hopeful (if angsty) tunes like “Meant to Live” in their rotation.

Switchfoot, perhaps, has faded from mainstream consciousness. Nevermind. In the intervening years, the quintet has worked hard to establish themselves as indie-rock mainstays, not mere MTV darlings. Recent work may not receive the attention of previous releases, but I like to think of their subtle exodus as a sort of monastic retreat ala Rivers Cuomo. They’re honing their craft, these five. They will emerge pensive, melancholic. In other words: a bit more indie (whatever that means).

Maybe. Maybe not. It would seem that Foreman, however, listens to this sort of artist (the pensive; the melancholic; the indie). Listen. You’ll hear it in Fall/Winter—half of a seasonally themed project. (Bet you can’t guess the title of the next installment.)

We should note, by the way, that Foreman, like every other relevant independent artist, has caught on to the future of music marketing—or should we say the present? “Fall” and “Winter” were previously available as separately released download-only e.p.’s. On January 15th he released the physical counterpart “Fall/Winter,” which combines the two short albums. Kudos to Foreman for keeping his ear to the ground.

But what of the music itself? Fall is a restrained lamentation of human existence—though not without hope of redemption. The opener, “The Cure for Pain,” explores the necessity of pain in one’s spiritual journey. “Southbound Train” opens with a subdued harmonica train, blown over the tired tracks of a thumping guitar. (Think: Johnny Cash’s “Orange Blossom Special” as performed by Iron and Wine.) The song paints the picture of a lonely rider on a train seeing someone he left behind in every fleeting detail. “Lord, Save Me From Myself” explores similar lyrical content to many Switchfoot songs, but is wrapped in inventive folk-instrumentation. This simple, repetitious tune is carried by the stellar production and solid instrument choice. Though lyrically at times it seems to condemn society, perhaps it is really about the evil we see in ourselves, though exponentially present in the world as a whole. Ultimately the cry is “Ah, Lord, save me from myself.” “Equally Skilled” once again explores the corrupt nature of man in a way that would make John Calvin proud. Rasped so gently from Mr. Foreman, such a pronouncement of judgment has never sounded so sweet. Perhaps this could be considered the title track, the season of fall being symbolic of the Biblical fall of Man. However, don’t lose sight of redemption. Foreman never does. He declares, “For though I fall, though I fall, I will rise again.” This song, like the e.p. as a whole, admits personal evil while expressing hope in the mercy of God.

Whereas it’s easy to find themes of fall in “Fall,” there is a lack of cohesiveness within “Winter.” It feels like an extension of ideas found in the first e.p. Musically, no tracks stand out. Listen to “Fall” and “Winter” back to back and try to spot the transition from one e.p. to the other. They flow into one another, breaking down toward the beginning of Winter. It’s not long until things are getting tedious. (Good gravy! Wail man! Scream! Do something!) This is not to say the subdued rasping of Foreman’s thoughtful lyrics goes unappreciated. His music demands your attention. Play it quietly in the background and it provides texture. But. Shut your eyes. Give yourself to the hushed lamentation of “White as Snow”; sense the hope of lines like “build me a home/inside your scars;” enter into the beauty of acceptance, despite the fall. Something beyond texture envelops you. Music should do more than color your world, more than inform, more than entertain. Music should transport you to a level of awareness and appreciation. Music is mystic. “Fall/Winter” may not transport you to the seventh heaven, but somewhere in the sparse production you may hear a chorus of angels.

by t clair for intothehill.com
Title: “Fall/Winter”
Artist: Jon Foreman
Release Date: January 15, 2008
Our Rating: 7/10

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