Out of Saddle Creek’s “Big Three,” The Faint are simultaneously the least “American-sounding” and the most American. Allow me to explain: Yes, Todd Fink’s vocals are a faux-Brit staccato and The Faint are all no-fi synths, goth haircuts and new-wave guitars. But even before taking the quality of their stark, minimalist synth-pop into account, the band’s success is largely predicated on the unyielding supply of sullen Midwestern kids unsatisfied with their stifling hometown culture and expressing themselves by adopting the sounds and styles of anywhere else, even if Blank-Wave Arcade almost exclusively trafficked in the two most American topics possible: sex and cars.
By Barry Walters on 04.21.14 in Reviews
For the previous two decades, Omaha's the Faint has faithfully followed a pattern: Alternate the danceable, catchy album with a noisy, experimental one. Doom Abuse, their sixth LP, offers nothing less than the long-threa...
By Ian Cohen on 07.19.12 in Collections
As the new millennium dawned, Omaha spawned an unusual amount of wildly talented, photogenic and outspoken artists. And while nearly all of these talents found a home on Saddle Creek, a label cofounded by Nebraska-Omaha...
By Ian Cohen on 11.26.14 in Features
The band's 2003 album serves as a Grand Theft Auto-like world where you can let your worst impulses run wild before returning to everyday existence.
By Stephen M. Deusner on 04.16.13 in Reviews
On, 2010's Personal Life, Portland trio the Thermals jettisoned the political angst that motivated their early material in favor of a more autobiographical subject matter. Frontman Hutch Harris sang about matters of the...