It is common stereotypical behavior to blow off local, college bands and label them as wannabe musicians trying to grasp at the life of a rock star while still feeling young and invincible. Not included in this stereotype are the members of Fermata; classically trained musicians (including UW-Madison students) extending their knowledge of music to encompass the more pop-structured songs that make up their recently released debut, Only Ghosts Remain.
Fermata are a string outfit that uses violins, mandolins, rhythm guitars, standing bass and anything else that fits in their rustic, acoustic sound, which includes an accordian but excludes any percussion. They use contrasting vocals that feature Lisa Mazza most of the time, an Amy Lee sound-alike who excels when desperate and pleading. Jon Koschoreck and Karl Stuen join her at times, creating enticing harmonies as well as providing needed changes of pace as solo vocalists.
But the reason the vocals are appealing comes from the emotive atmosphere they create. It is easy to get involved when you listen to the lyrics and let yourself be guided by the physical scenes the narrations paint. Even more, Mazza has the type of voice that grabs listeners, allowing Fermata to pull this style off in a way Antony Hegarty would be proud of.
But the music is in the mold of a much more classically rooted, acoustically aggressive combination of the Dodos and Andrew Bird. This unique style is distinct in its own right with a technical flair that feels reassuringly organized and deliberate, allowing listeners not to worry about the music and stay invested in the vocals. But an added aggressiveness gives it an edge that keeps it distinct and distinctly independent.
This organized assertiveness succeeds on the standout tracks, Zura"" and ""Subrosa,"" which provide listeners with a climax of flurrying strings that erupt in support of the emotionally engaging vocals of Mazza. This leaves lasting impressions of cathartic music that is both engaging and reassuring at the same time.
But eventually, no matter how engaged and emotionally involved a listener can get at different points of the album, Only Ghosts Remain can't consistently demand that type of attention for the full duration of the album. In this way, the album is ironically reminiscent of a fermata. It is a note being held for too long, and the listener eventually wants a starker change of pace to keep things interesting. As a result, in the middle of the album, ""The Coldframe"" and ""Cliffs"" suffer from monotony. They represent more relaxed pieces that are appealing in their own right; yet not dynamic enough to leave any sort of impression in listeners' minds, leaving gaps in the listening experience even after repeated listens.
Luckily, these gaps in the experience are far less common than the tracks that grab at you and demand your attention. And at the end of the album, if listeners haven't decided whether or not Only Ghosts Remain is a worthwhile 50 minutes, ""The Woodsman"" is an optimistic, convincing closer that finishes with a rousing chorus sung in unison.
Overall, despite creating a successful debut, Fermata are walking a dangerously thin line. On one hand, they create a well-defined product with an empathetic character, but on the other hand, this consistent character can fall into inattentive lulls when emotions are stretched too thin to be recognized. Posing a question that is the basis for evaluating almost all sophomore albums: Can they develop their sound in a way that fills the gaps their debut left behind?
