New projects from familiar artists are always obvious targets for comparisons ““ listeners often find themselves asking whether it is just more of the same or an original product entirely of its own.
“Aim and Ignite” is more of the latter ““ a rich, satisfying debut pop record from fun., a new band featuring Nate Ruess of the Format. The Format achieved mild success during the past decade in the alternative music world for its catchy, melodic tunes. Other band members come from similar backgrounds, that being somewhat obscure indie pop-rock bands such as Steel Train and Anathallo.
Overall, the album is a sweeping achievement in dramatic sound, 10 songs full of grand, theatrical spirit and histrionics. Similar to music of the Format, fun. sets itself apart from other hook-filled punk-inspired pop bands by making bold use of nontraditional production values. Songs feature church choirs, violins, oboes, steel drums, bells and other elements that would probably never be found in, say, a Fall Out Boy song.
One of the early songs in the album, “Benson Hedges,” seems to borrow heavily from Southern gospel. The sounds of fun. are unique, and the lyrics of failed relationships and the complications of romance somehow sound less tired and played out against the backdrop of such whimsy.
Ruess often sings of the downtrodden, but he does it with such a passionate and upbeat fervor, as if his voice were madly conducting an orchestra. Back-up singers play big roles in most songs, borrowing heavily from the ’70s-era pop songbook and adding to the big, grand energy of the songs.
Tracks such as “All the Pretty Girls” and “Walking the Dog” are playful songs that easily become stuck in one’s head.
Songs throughout the album carry deep musical influences: fanciful circus acrobatics blended with the over-the-top gusto of Broadway musicals and repetitive choruses.
Though the album’s song topics would carry no relevance to a 4-year-old, each song carries with it a childlike sense of fantasy ““ only with lyrics that have the sophisticated, mature motifs of music for grown-ups.
“Take Your Time (Coming Home)” is a seven-and-a-half-minute piece that is a bit of a misstep, a song that could have easily ended three minutes earlier. It drags itself on with guitar solos and vocal exercises that add little to the listening experience.
Fans of the Format can appreciate Ruess’ distinct style, a sound that is capable of recognizing the complications behind personal struggles. His expression of inner monologues meshes so well with the pop sensibility of his music.
Though nothing stands out as much as the songs Ruess wrote with the Format, such as “The First Single (You Know Me),” it’s OK because this album functions so well as a complete work. It may be hard to pick and choose singles, but as a whole album, “Aim and Ignite” is a pleasure.
E-mail Truong at etruong@media.ucla.edu.