Boston's Douglas Fir band bring to mind underrated legends such as The Chameleons, Australia's The Church, and The Straitjacket Fits on this monumental debut album.
 

Boston's Douglas Fir band, whose principal songwriter is Jay Walsh, may share similar influences to NYC early '80s revivalists such as Interpol, Longwave, and The Walkmen, but they beat those bands to the punch, having played their blend of chilling, atmospheric, effects laden pop since the late '90s. They're also better than the aforementioned bands, adding more colors and a softer touch to the mix, bringing to mind underrated legends such as The Chameleons, Australia's The Church, and The Straitjacket Fits on this monumental debut album. And then there's the songwriting; Walsh's spectacular, vivid lyrical narratives flow like your favorite short stories or those old Hitchcock films name checked on "My Favorite Thing." Don't miss out on this one!

The Big Takeover Magazine - 2004

 

There are some very distinct anachronisms hanging in the air when Boston's Douglas Fir fill an entire disc with the kind of gorgeously claustrophobic melancholy pop that was a tough sell even back in the '80s when that stuff actually had an audience. But with the rise of soul-baring emo, perhaps the time is right for the Douglas Fir to recreate the somber ennui of those old Smiths and Cure and Nick Cave albums while giving them a slightly more luscious sonic bed to lounge in. Although guitarist/vocalist Jay Walsh has a tendency toward lyrics that are a little overwrought in message and execution, they never seem out of place in the little cinematic gems constructed by Walsh, U.K.-obsessed bassist Patrick Cooley and tribal tub thumper John Michael. Imagine Morrissey fronting Dashboard Confessional at an Afghan Whigs tribute ("Wherever You Go," "Until That Day Comes") and you're approaching the Douglas Fir's astonishing power and moody atmospherics.
-Brian Baker, Amplifer Magazine -2004

 

 


The sensory world of sound imagined and then brought to lush life by the Douglas Fir has precious little to do with the Boston band's immediate environment. The Fir's pulsing, vividly focused art-house view of the universe came out of a cramped Allston basement. But the core members of the five-year-old band - singer-guitarist Jay Walsh and bass player Patrick Cooley - have a distinctly European pop sensibility. With a richly layered, swooningly atmospheric approach, they make music that has the chiming grandeur and air of mystery that surround highly literate, lyrically romantic bands such as the Church (Australia), the Smiths (U.K.), Aztec Camera, and the Go-Betweens (Australia).  


``I grew up listening to some of those bands, but I also grew up listening to Husker Du and the Replacements,'' says Walsh over drinks and appetizers with Cooley at a Cambridge restaurant. He supposes some of those overseas comparisons have to do with his Anglophilic vocal affectations (in song, the Miami-born Walsh pronounces ``last'' as ``lahst'') and the shimmering sustain and enveloping tones he coaxes from his electric guitar. Meanwhile, the moody, overcast rumble of Cooley's bass betrays an adolescence spent learning the instrument by playing along to Cure albums. The other UK-ish elements, the duo insist, are pure happenstance - magic that Walsh says ``comes out of the walls. We never sit down and say `Let's sound like this because no one sounds like this in Boston.' But we do feel a little bit out of place here sometimes.''


Even the cover of the Fir's debut album, ``When This Wears Off'' (out Tuesday on the band's own Dark Years Records label and available at www.darkyears.com), speaks to the band's fondness for all things English: striking sepia-toned photographs of steepled city rooftops, Dickensian lampposts, and doorways dripping with ivy. ``People think it's England,'' says Walsh, who took the photos. ``But actually, it was all shot in Beacon Hill.'' In Boston, where old-school garage-rock and power-pop tend to dominate, the Douglas Fir's melancholic surrealism is an anachronism that catches the eye as well as the ear.
``I kind of like it that way,'' says Walsh, who pens the band's elegiac, often evasive lyrics and anoints them with such Morrissey-esque song titles as ``The Arsoniste'' and ``I Think I Loathe You.'' ``I like the fact that we have one foot in the local scene here and one foot out. And even with what's going on nationally, I don't mind feeling a bit out of time and out of date. God knows I don't know half the stuff that's on the radio.''


Still, Cooley points out, after a few ``ugly'' years of rock radio dominated by rap-metal and generic prom-rockers, he's finally seeing moody, UK-influenced bands such as Interpol (from New York City) and Black Rebel Motorcycle Club (San Francisco) making headway on the airwaves. The implication, of course, is that there may be hope yet for an outfit with a thirst for lavishly melancholic pop.


Go to Boston.com to hear audio samples of the Douglas Fir songs ``The Arsoniste'' and ``I Think I Loathe You.''
Ever since the group began releasing a painstakingly produced series of limited-issue color vinyl singles (in 45 r.p.m. format, no less) - tucking each in sleeve very nearly as arresting as the songs - the Fir has, in fact, been making some headway of its own. In 2000, it won a Boston Phoenix annual readers' music poll as best new act. The band has been singled out for praise in the pages of taste-making music mags including CMJ and Magnet and has opened a slew of high-profile shows around town.


Now, with a CD-release party slated for Jan. 24 at the Lizard Lounge, it's the Fir's turn in the spotlight. It'll be joined on the bill by the Mittens and local faves Francine, whose guitarist, Albert Gualtieri, regularly sits in with the Fir during live shows. (Walsh, who's also something of a graphic designer, was art director for the cover of Francine's latest album, as well as a pair of albums by British singer-songwriter Richard Thompson.) Drummer Pete Caldes of the bands Gravel Pit and the Gentlemen will also be on hand, manning the drum kit for the band's performances as he's done since the departure last year of original Fir drummer John Michael.Cooley and Walsh say they're excited, and relieved, to finally have their CD on the cusp of release. Initially the two had shopped the album around to a handful of record labels in hopes of signing with a company that had the resources to get their music to as many ears as possible.


After receiving a number of encouraging responses but no firm commitments, they decided they had waited long enough. ``My first response is `It's about time,''' Cooley says - it took the group a while to cobble together the funds to record ``When This Wears Off.'' ``But we did what we could with the time and budget we had.'' As if to make up for lost time, the duo has already written roughly a dozen new songs for another album, which they'd like to release inside of a year.
Ian Kennedy, who coproduced ``When This Wears Off'' with Walsh and leads his own Boston alt-rock outfit, Reverse, says he was struck by the Fir's distinctive sonic perspective the first time he heard the group.
``It was refreshing because I thought they were obviously in a world of their own,'' says Kennedy. ``They definitely weren't plugged into any scene [that dictated] `This is how you sound, this is how you look, this is what you do.' They were definitely off in their own area code, and I always love hearing bands like that. Nobody's doing what they're doing.''
Walsh and Cooley don't like thinking about niches. ``The moment you start worrying about fitting somebody else's idea, you're going to go crazy,'' says Walsh. ``If you make a record that the record company wants and it bombs, then you're going to think `Why did we do that?' When we're writing, [fitting a niche] doesn't even enter into it. The moment it does, you become less of yourself.''

-The Boston Globe
-By Jonathan Perry, Globe Correspondent, 1/11/2004