The average listener can’t, I have to imagine, want to be recommended a Blue October album on purpose. After all: no one but a connoisseur of angst (and, maybe, guyliner) is scouring the ‘net for Blue October reviews. But stranger things have happened than Blue October turning into a sorta-artistically viable band, right? Right?
Regardless, Blue October’s new record, Any Man in America, is a late-career upswing in quality for this band. For once, lead singer Justin Furstenfeld sings and writes with purpose; his new album is, after all, created in the name of his daughter, and as Furstenfeld finds himself embroiled in a bitter and ugly custody battle, he writes songs that are often angrier than the norm, but are often much more reflective and tender, too. In short, Furstenfeld is following in the footsteps of great musicians who spun their personal pain into high art – we don’t want Justin to have to fight tooth and nail for custody, but, well, the music is better.
There’s something refreshing about how uncomfortably honest Mr. Furstenfeld is willing to be on wax. Not since Eminem have we seen an artist so willing to air all his dirty laundry, and in such blunt form; in some of the record’s more brutally forthcoming moments, that feels a touch like the guy at the bar who tells you about losing his job while you’re just trying to watch the game, but for the most part, Furstenfeld is so raw about things (and so game to dish out his version of the truth) that you can’t help but feel for the guy.
And as a result, the record sounds… well, pretty great. Furstenfeld’s gritty baritone is the sort of vocal instrument that doesn’t work without a healthy dose of passion, and Any Man in America has that in spades; the lyrical content lends itself to it, really, and Furstenfeld sings like a dynamo on this album. Compositionally, Blue October have subscribed to the U2-chic that most modern rock bands are trading in these days – shades of the Great Springsteen Revival of 2006 – but they manage to make it work for the precise reasons that U2 themselves make it work; namely, huge hooks decorated with gorgeously shimmering guitar work, draped with expansive, passionate vocals. That the band that’s cranked out a billion angst anthems could be responsible for “The Feel Again (Stay),” one of the most heart-stoppingly soulful rock anthems anybody’s bothered to compose in the past decade, is exciting; by the time the record dovetails with “The Worry List,” there’ve been dozens of Edge-y guitar lines and feverishly wailed refrains, most of ’em winners. Still, “Worry List” catches the ear – it’s intense, sure, as is most of the album, but it’s also so clearly the work of a broken man that it’s hard not to feel for him. It’s raw, it’s wrenching, but it’s resilient.
Now to the elephant in the room: the record’s lyrical content has been hotly contested among Blue October superfans (yep, there’re a bunch of them). To break it down into Nielsen-style demographic nonsense, the essence is this: women, quite frankly, don’t seem to care for it. And, yeah, it’s a little problematic: Justin has stated that the purpose of this album is both to enlighten listeners to the plight of fathers’ rights and to provide a concrete musical document of this tumultuous period for his daughter to listen to, which would ring a lot truer if he didn’t spend the entire record seething at his ex-wife. Many of the female fans who dry-hump Furstenfeld at shows feel betrayed, feel unnecessarily caught up in the collateral damage of his less-than-desirable feelings towards women, feel that the entire enterprise smacks of misogyny. The title track (which charmingly features rapper Ray C inviting a female adversary to kiss his scrotum) calls for “every man in America” to “take back [their] control,” but seems to ignore the fact that, while the legal system is irrefutably skewed towards the woman in matters of custody, deadbeat dads do exist. In telling his story, Furstenfeld acquits himself by painting his wife as a vindictive gold-digger, but in his few attempts at universality paints things as too black-and-white.
Fortunately, Furstenfeld keeps things wisely inward for the most part, preferring to write in the micro. And that’s what justifies the harrowing lyrical content here: it’s so focused on one individual that it’s impossible to paint the entire enterprise as baseless, wanton misogyny. Kanye never claimed that all women are gold diggers; he was claiming that gold diggers are gold diggers. Specificity is a virtue here, although, naturally, having such a narrow lyrical target serves the unfortunate side effect of alienating longtime fans by shifting the focus from the universal to the personal. Unless you’re in the situation Justin Furstenfeld is in, it’s a difficult album to relate to.
Any Man in America is a thorny, complicated record, sometimes problematic, sometimes wearying. It’s also Blue October’s best record by a yard, an uncomfortably personal opus of righteous rage, tempered by some really, really beautiful music. For sheer audacity and musical scope, Any Man in America admirably overcomes any potential offense. It’s the soul-bearing of a broken man saying exactly what he feels; and that can be dangerous sometimes (ask Kanye, who, by the way, we’ve been lauding for his unbridled honesty tempered by unbridled artistry for years), but it often yields results. It sure does here.
Grade: A-
5 comments
It ain't always easy says:
Sep 11, 2011
As a female fan I have to say this album doesn’t turn me off to Blue October. Any mature person can relate to both sides of the issue. There are dads that take responsibilty even though their ex wives don’t comply with visitation schedules and are constantly mucking with the kids minds.
I, unfortunately, have the other problem. Dad doesn’t pay support and is too busy to see his children. I have a very strong opinion about the child support=visitation rights. Total BS. Whether the dad pays or not, he still has rights.
I know MANY women that disagree with my view on this subject. I also see that they don’t notice how much it hurts their children to be without their father. But in this day and age, that is the norm. Just not in my home.
Wow, lengthy post! Love the album. Chuckle at the references to these annoying women and am glad this group has enough confidence to release this album.
Sheila says:
Oct 31, 2011
I love this album. I felt every bit of the anger and sadness in Justin’s lyrics. Divorce, custody, child support, visitation…these are all very complicated and painful issues. You mourn your failed relationship while you are forced to share your child with this hateful person you don’t love anymore. It makes it hard to find closure or forgiveness. I congratulate Justin for having the courage to say what he feels in such raw honesty.
Rachel says:
Jan 28, 2012
The average listener can’t, I have to imagine, want to be recommended a Blue October album on purpose. After all: no one but a connoisseur of angst (and, maybe, guyliner) is scouring the ‘net for Blue October reviews. But stranger things have happened than Blue October turning into a sorta-artistically viable band, right? Right?
In 2006 I was sitting in a friend’s garage, listening to the radio. I was a survivor of the horrific type of childhood you read about in the newspaper. I had been a young mother at the age of 17, a wife at 19, divorced at 26. My husband left me and our sons. I tried meth, I became an addict. I lost my children, I lost my home, my belongings, my dignity, my identity. I was at a pivotal point; I wanted desperately to be clean, but I was filled with guilt and a desperate mission to put an end to the pain I felt. I heard “Hate Me” on the radio. This is how I felt. Clean and sober since July 1, 2006, I continue to draw strength from the lyrics of Blue October. “See here, there are the bruises. And some are self-inflicted, and some showed up along the way” ~ Justin Furstenfeld
Kat says:
Mar 12, 2012
As a 37 Year old, twice Divorced female, who has been a long time fan of Blue October, I absolutely love this album. Such raw honesty and brutal emotion is impossible to ignore. I could feel his pain without getting all wrapped up in being offended. I’ve been there, in my own way, with my childs dead beat dad not willing to provide or even be involved. But, I have also had male friends that were FVCKED out of being a father by our broken justice system. In the end, I am an adult and I understand the overwhelming pain that comes from ending a relationship with children involved. If they are so offended by it, then they obviously don’t understand and can’t relate. Kudos to Justin for putting it all out there!
Michelle says:
Oct 27, 2013
I’m female and I’ve been a fan of Blue October for what seems like forever. As much as I love music, all kinds of music, I never cared anything about seeing any performer(s) live until Blue October. It’s funny that you think this particular album would put women off when it was one track on this album that literally pulled me out of a very dark and very numb place when I heard it. I was totally void of feeling for so long and I was about to lose everything. I had switched off my emotions and closed myself off to everyone. I couldn’t even cry and then this album was released and everything changed. I cried until it hurt and nothing had ever felt so good than being able to feel again.
Justin Furstenfeld is the most inspiring songwriter of our time, imo. Seeing Blue October live is the most alive I’ve felt in years and I will see them again and again. I love these guys as much as they love their fans.