Five Iron Frenzy’s “Engine of a Million Plots”: Waiting for the Sun’s Return

Music — By on November 26, 2013 at 8:00 am

It’s finally here: Five Iron Frenzy’s first album in ten long years. And it’s…different than what I was expecting. But still awesome.

I am a long-time (life-time?) fan of Christian music, and I well remember that glorious moment, the summer in between my sophomore and junior year of college, when I realized that Five Iron Frenzy was a thing–indeed, not only a thing, but the thing, that glorious fusion of horns, guitar, and lyrics that seemed to waver, moment by moment, between exuberant victory and white-knuckled defiance. I (unknowingly) bought their last CD first, and to me every song sounded like a last stand, a Chestertonian revolution, brazen and unmuted.

Imagine my sadness when I realized that the album was, in fact, a last stand–a stand made years ago and long since over.

But like a trumpeting phoenix, they have risen from the ashes. And two weeks ago, having been forced into a  strange and unnatural sleep cycle, I awoke at 5:30 and began downloading my Kickstarter Early Access album.

My first impression (after the initial bout of excited giggling) was of an unexpectedly cold, dark world. In the weeks and days leading up to the release, FiF hinted that they “explored darker themes,” and that is certainly the case.  Winter comes, the fire dies, and frost envelopes everything. That is the world of EOMP. It opens with “Against a Sea of Troubles,” in which the singer is “adrift and lost” in a frozen world, and the fire is growing cold. Although I noted a few bright points (“So Far” is the only song that contains an unadulterated sense of Christian victory), the rest of the album seemed to confirm this condition. We work in a cold and cruel city that chokes the sky, we huddle around a dying fire, we suffer through a frost with no thaw…what if this winter lasts forever?

[Aside: There are, of course, a couple FiF constants that stand apart from this theme: Silly songs, and social commentary. "Battle Dancing Unicorns with Glitter" is, unfortunately, nothing more and nothing less than an obligatory silly song: It's catchy enough, but it lacks the charm of "You Can't Handle This" or "That's How the Story Ends." . But in the area of social commentary, FiF comes out swinging.   In "Zen and the Art of Xenophobia"FiF lampoons the type of American Evangelical who gets ready to "lock and load, just like Jesus did," while proudly proclaiming that "Jesus was American". And in "Someone Else's Problem", Five Iron delivers a biting critique of our willingness to tolerate abuses and ruined lives just because we'll never have to look at the faces of the abused. I am always tempted to skip over these songs, because they aren't fun, they aren't uplifting, the make me uncomfortable... and that's the point.

For Five Iron Frenzy, there can be no disconnect between the joyful doctrine of Christian victory and the difficult doctrine of Christian duty and service. Any attempt to separate one from the other results in an incomplete faith. It is not for nothing that their hardest-hitting social commentaries come on the heels of their most joyful and upbeat reflections on the victory of Christ-in-us, making it difficult indeed to partake of one and avoid the other.

Now, back to the rest of the review.]

That first impression of cold and cruelty was correct,  so far as it went. But the more I listened to it, the more I heard the hope and defiance inherent in every single song, from the very beginning of the album. There is a hope that the singer clings to even as he longs “to only end the heartache, to shed this mortal coil”: The hope that “You cannot not be real.” 

Yes, despite the mixed faith of the band (two of the core members are now atheists), this album expresses a faith that, though beaten and battered, is undeniably Christian (in fact, one might argue that the Christian faith was meant to be beaten and battered). This faith is explored throughout the rest of the album, from “So Far”, a superhero themed meditation on Christian victory, all the way to “Blizzards and Bygones,” where winter threatens to last forever.

In “We Own the Skies,” the singer walks the cold and cruel concrete by day, having traded “my kingdom for a steady paycheck.” But by night, they huddle around the fire, “wish upon the fading light” and proclaim “Tonight, we own the skies,” with the characteristic brazenness of trumpets and voice lending the whole song an incredible sense of defiance and courage. And in his dedication of the album, Reese puts a biblical spin on it, referencing Ephesians 2 & 6:12.

“I’ve Seen the Sun” takes that sense of defiance and courage to another level, and again it is firmly rooted in a Christian worldview. The night is dark and cold, the water is rising, the singer is fighting what feels like a doomed battle…but he has seen the Sun come down, and he holds to its return. And we should expect nothing less from the world: after all, “the Savior says don’t be surprised / Everything’s gonna be alright.”

It feels like the last song, a fitting way to end an album that has revolved around the difficulties of staying afloat in the world.

And then comes “Blizzards and Bygones,” which does its level best to eradicate every last memory of the Sun. The cold is in your bones, the fire is faint, and and all that’s left is “a flicker of desire and a memory of youth.” There is no thaw, only a winter that will not end. It ends with a simple unanswered question: “Can you stand the weather if winter lasts forever?”

That is the question the entire album ends with. What do you do when even the memory of light fades, when the fire has died and the ice is thick? What do you do when the winter seems to go on forever?

If your only hope is that God cannot not be real, is that enough to soldier on, to light the fire again and again, to keep it burning and to keep the darkness at bay? Is “Blizzards” only an episode, only a stage of life? Does it fit into the reality described in “Against a Sea of Troubles”, “We Own the Skies”, or “I’ve Seen the Sun”? Or is this unending winter the true reality, the final death of all hope?

This album reminds me of Psalm 22, and of the book of Job, minus the vindication at the end. Ultimately, I think Five Iron Frenzy is emphasizing that there are no easy answers. As Christians, we anticipate the vindication of our faith, the fulfillment of our hopes… but in the meantime, we must endure a winter that doesn’t seem to end. We must fight to keep the fire lit, and we must light it again and again.

Although “Blizzards and Bygones” comes last, I think it would be absolutely wrong to name it as the final reality. FiF has already answered the questions “Blizzards” raises, as much as they can be answered. When the cold closes in, when the fire flickers, “We burn the wintry frost of night / Tonight, we wish upon the fading light / Tonight, our burning hearts will rise / Tonight we own the skies.” In short, we continue the fight and wait for better things. It is not always easy: For every celebration of “so far, there’s nothing that you and I can’t do,” there’s another instance of unending winter, of cold that enters into your bones and refuses to leave. But the fight is still worth fighting, and the sun will return.

If you like ska, you should buy this album. If you don’t like ska, then you have no musical taste and you should still buy this album: It will probably help.


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  • gmoothart

    This is a good review (and Doug Tennapel’s cover art perfectly conveys the album’s sense of a flicker of hope staving off the gathering dark). But I read “Blizzards and Bygones” slightly differently.

    The last song has always been important in Five Iron albums; and you’re right that “I’ve seen the sun” sounds like a closing song. When you notice their writers, the last two songs actually feel like point-counterpoint to me, not one closing song but two: Scott’s secular lament at the darkness, and the closing question a real one – it really might last forever! – over against Dennis’ hopeful, Christian defiance of the dark. He knows it will not last forever. And if you listen to Dennis’ songs on the other albums (I’m thinking of Second Season and It Was Beautiful), he’s always had a certain spiritual sensitivity and simple faith that makes him the perfect person to write such a counterpoint. They feel to me like two different responses to the darkness in the album.

  • Shane

    Why oh why do people listen to “Battle Dancing Unicorns with Glitter” and hear only silliness!!?? Have they not heard Suckerpunch? “Battle Dancing Unicorns with Glitter” reads like a ‘thumb your nose’ at all the arses who perhaps bullied Roper at school. It’s a song of triumph that supposed geeks can still take back control, even if it is later in life. Lyrics, written in particular by the genius that is Reese, should hardly ever be taken at face value. Thems my 2 cents

  • http://imperfectfornow.blogspot.com/ Mackman

    I have heard “Suckerpunch,” and I honestly think it’s a better song than “Unicorns.” “Suckerpunch” just does so much more with the same theme. However, this isn’t a hill I’m willing to die on, and I’ll happily admit that I went too far in calling it “nothing more” than a silly song.

  • http://imperfectfornow.blogspot.com/ Mackman

    That’s an excellent analysis. I think you’re absolutely correct, and I don’t know how I missed the dueling song-writers. Thank you much!

  • nstryker

    i think bduwg has a lot more in common with at least i’m not like all those other old guys…it’s not about being a geek, it’s about being out of touch. i think the key lyric is in the bridge: “i’m fighting just to be relevant.” the whole song is talking about building up your image using laser beams and aggro hair and unicorns and glitter, all while “feeling a bit uneasy.”

  • Casey

    Wouldn’t it actually be a trio of song writers if you include Reese?

  • http://imperfectfornow.blogspot.com/ Mackman

    Yes, but speaking specifically of the end: The “point-counterpoint” that’s present in “I’ve Seen the Sun” and “Blizzards and Bygones” that gmoothart brought up. It’s as though Scott and Dennis take the world that Reese describes in all the previous songs, and attempt to sum it up in one song each.