SPILL ALBUM REVIEW: FAR CASPIAN – AUTOFICTION

FAR CASPIAN
AUTOFICTION
TINY LIBRARY RECORDS

The third record from Far Caspian– a project led by Irish musician Joel Johnston– encapsulates a style of indie-rock that perfectly straddles the line between mellow and upbeat. Born out of Johnston’s desire to bring more excitement to his production process, Autofiction is the type of music you’d want to hear soundtrack any coming-of-age montage. It becomes all the more impressive when you realize that Johnston produced, wrote, and recorded the entire album himself.

The tracklist is filled with simple, steady guitar riffs and crisp drums at the forefront. Its soundscape truly excels in its most lively moments. The lead single “First Day” has a standout presence with its explosively bright instrumentals. Although there are minimal lyrics and only two verses, the layered vocals make this melody extremely memorable. The serene vocal mix highlights the charming simplicity of the story being told here. Autofiction’s title track carries a similar warmth and uplifting sentiment.

Johnston’s unique production choices blend seamlessly into Autofiction’s cohesive atmosphere. This is exemplified best by the way grating electric guitars turn into folksy plucked strings on “Ditch”. Pan flute-like melodies help create an ethereal and playful energy on the back half of “Whim”.  The conversation between the electronic and organic sounding elements on this record feels nostalgic, yet tastefully modern. Moments of ambience and reflection are sprinkled throughout. The slower tone on “The Sound of Changing Place” gives its message time to sink in. Soft spoken word parts layered on “An Outstretched Hand / Rain From Here to Kerry” add a sense of mystique to this album’s journey.

Around the mid-point of the record, there is a sense that some tracks could benefit from a slight bump in sonic variation or more pronounced lead vocals — if only to strengthen the listener’s connection to the most poetic lyrics. You’ll have to listen closely to catch vulnerable moments, like when Johnston sings “I’m so scared of feeling bones / underneath the table” on “Whim”.

Autofiction’s final minute is one of its strongest, acting as a total recalibration of the album’s mostly gradual dynamics. The climactic, blaring guitar outro on “End” releases much pent-up emotion. The production excellence on this record showcases a more grounded identity for Far Caspian, while maintaining a liberated energy.

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