Thursday 24 Apr

IndianGiver - Understudies

There’s a difference between being derivative and being inspired by something, a line a lot of artists can’t seem to find — or at least don’t care to.
04/22/2014 | Comments 0

Dustin Prinz - Eleven

Few musicians take the time to master their instrument in the way that Oklahoma City singer-songwriter Dustin Prinz has; he’s a guitar virtuoso in every sense of the word, and Eleven gives him the chance to show just how far he can push that skill.
04/15/2014 | Comments 0

Horse Thief – Fear in Bliss

Listening to Horse Thief’s previous release — the haphazardly melodramatic Grow Deep, Grow Wild — felt like a chore. Whatever potential the Oklahoma City folk-pop act demonstrated on the EP was obscured behind a formulaic, contrived and ultimately hollow cloud. But it at least offered a glimmer of promise for a band consisting of, frankly, five pretty talented dudes. Critics saw it; the band’s management saw it; its current label, Bella Union, saw it; and its increasingly fervid fan base saw it.
04/08/2014 | Comments 0

Colourmusic — May You Marry Rich

There’s always a sense of danger when debuting songs in a live setting and playing them well. Without having heard the studio versions, expectations are set according to the live incarnations. But capturing the breadth of free-flowing atmosphere and sheer volume on a disc, vinyl or digital file isn’t the easiest thing to do, especially for a band as vociferous as Colourmusic.
04/01/2014 | Comments 0

Em and the MotherSuperiors — Churches into Theaters

As titles go, Churches into Theaters is an apt descriptor for the debut album from Oklahoma City rockers Em and the MotherSuperiors. It’s a reverential record, one that shares the gospel of classic rock, blues and soul but embraces the need to refashion it for modern times, channeling The Dead Weather, Grace Potter and Cage the Elephant along the way.
03/25/2014 | Comments 0
Home · Articles · Music · Music · Am I Blue?

Am I Blue?

A chaotic private life allowed Blue October to get personal on its latest disc, 'Any Man in America.'

Joshua Boydston April 11th, 2012

Blue October with Girl in a Coma
7 p.m. Tuesday
Diamond Ballroom
8001 S. Eastern

Justin Furstenfeld is keenly aware that not all people are huge fans of his band, but he’s OK with that.

“There’s a broad hatred for our band,” said the leader of Texas-born Blue October. “I think the reason people like us is because we aren’t singing about glamorous things ... depression and things like that, divorce and custody battles. We pride ourselves on being honest with everything we do.”

The group broke through with its fourth studio album, 2006’s Foiled, but struck a weird ground, lyrically similar to angsty metal acts like Puddle of Mudd and Creed, while stylistically closer to Dashboard Confessional or the poppier side of The Flaming Lips.

Still, fueled by the breakout hit, “Hate Me,” Blue October assembled a fan base that embraces Furstenfeld’s powerful, personal messages.

That message grew darker, messier and all the more intimate with its latest disc, 2011’s Any Man in America, written over the course of an ugly separation between Furstenfeld and his now ex-wife that lasted nearly three years.

“It became a drain on my money and on the little time I got to spend with my daughter. Still, to this day, it’s hell just trying to create a relationship with my little girl,” he said.

“There’s so many guys that are going through that same thing. It’s a bonding experience being able to share in that circumstance. It’s like you are walking on eggshells all the time.”

The battle brought a new focus to his professional self, and the album benefited from Furstenfeld’s burst of creative energy and concentration.

“I contemplated each song as a producer and songwriter,” he said. “Each song had its own storyboard, its own reason. The entire effort was really thought out.”

Through all of heartache and introspection, Furstenfeld and company finally may have emerged with a more steady identity. Hopefully, that hate will start to wane, too.

“It really touched the critics’ hearts, and it wasn’t so all over the place,” Furstenfeld said. “They used to call our records ‘bipolar.’ This one, we found our musical niche.”

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