Featuring the relentless song writing of 23 year old ex-Osker frontman Devon Williams, FCMM play an eclectic mix of Americana meets punk -- think Wilco meets Westerberg, where torch meets twang. Though a departure from Oskers snotty antics, FCMM is rooted in punk rock dissonance, only steeped in acoustic texture and indie confidence. Affirming the band's emphasis on "the song" Fingers Cut Megamachine shape-shift between a full band, a guitar duo and Williams as a soloist. Recorded throughout 200... (more)
Featuring the relentless song writing of 23 year old ex-Osker frontman Devon Williams, FCMM play an eclectic mix of Americana meets punk -- think Wilco meets Westerberg, where torch meets twang. Though a departure from Oskers snotty antics, FCMM is rooted in punk rock dissonance, only steeped in acoustic texture and indie confidence. Affirming the band's emphasis on "the song" Fingers Cut Megamachine shape-shift between a full band, a guitar duo and Williams as a soloist. Recorded throughout 2004 and mixed by Mike Trujillo (Osker, Leftover Crack, Choking Victim) at Succulent Sounds Studios, this self titled CD feels like a natural progression from rebellious teen angst to self-aware organic song structure. It's been four years since Oskers "Idle Will Kill" record stunned the punk rock world - trust us when we say FCMM was well worth the wait.
Comparisons could be made to the new breed of so-called "freak-folk" artists like Devendra Banhart, or Joanna Newsom, and indie rock stalwarts like Bright Eyes' Conor Oberst, Pavement's Steven Malkmus or Iron & Wine's Sam Beam. Fingers Cut play against the grain with honest and intimate lyrics that tell all too personal stories of love, heartbreak and regret. Songs that are at once catchy and strange from a voice that croons with unsettling seduction, Williams wears his heart on his sleeve right under the chip on his shoulder. Stand out tracks include Rough Dreams, Orange Barrel, and Recovery, with two hidden songs at the front and back of the record (rewind from track one).
In his own words: "I think it does more harm than good to talk about the pseudo folk revival. It's a dying trend and its rooted in contrived throwback material. I feel current, but i do take notes from late 60s early 70s american folk (check for songs by John Prine, Loudon Wainwright III, really check out Townes Van Zandt's queen carousel if you can). Its straight singer-songwriter stuff, and i love folk stuff, but i am hesitant to say the word given its connotations today. As far as the word punk goes, I think its kinda given who will initially check this record out. The "osker contingent" is already there so repeating that its punk flavored is sort of redundant. Really, I know what i am and its bitter, frustrated, jaded, and is that punk? I just feel discontented. I think those negative feelings try to be released through the lyrics of the songs, but end up getting screamed in place of adequate expression. I guess my whole thing is I need to feel comfortable just doing this thing, and I feel uncomfortable using other groups as stepping stones to sell records. I think acknowledging other groups when defining oneself is dangerous, I'd feel totally better just coming up with our own thing if we painted a picture for the reader/listener. Was I helpful?"
Source: Thick Records
