Review: The Fold looks forward on “Dear Future, Come Get Me”

 

Many people know The Fold as that band who did the theme song for “LEGO Ninjago,” but that barely scratches the surface. Not only did they write multiple songs for the series, but they’ve also been putting out original material since the early 2000s. To me, their third studio album, “Dear Future, Come Get Me,” is their most intriguing because it provides a snapshot of the band right before they hit it big with “The Weekend Whip.”

“Dear Future, Come Get Me” was released on Oct. 6, 2009 as The Fold’s first independent release after leaving Tooth & Nail Records. The Chicago quartet worked with Zack Odom and Kenneth Mount, who previously mixed their previous album “Secrets Keep You Sick.” 

Interestingly, the album seems to bridge the gap between two different band lineups. While Dan Castady, Aaron Green, Mike Emmons and Keith Mochel played on the recordings – with Mochel even co-producing –  by the time the album was released, the band consisted of Castady, his brother George, Matt Pittman and Mark Rhoades.

The album opens strong with “File: Under Ground,” with Emmons slamming on the drums and Castady singing about wanting to be better than his past self. “Hold On” details a lucid dream about dying in a car crash that forces the person dreaming to rethink their lifestyle.

On “Red Wine,” the MVP is Green on lead guitar, giving the song an energy boost. The lyrics speak about seeing a way to get yourself out of a monotonous routine, but having no means to make it happen. “Dear Future” changes pace for an upbeat ballad and filtered vocals from Castady.

“Midnight” has the best lyrics on the album, telling somewhat external tales of doomed couples who may be the same two people meeting in various lifetimes. Green’s guitar playing veers from the norm and gets the chance to wail out in a solo.

“Seventy Five Outgoing Calls” allows Mochel’s bass to shine, with the lyrics and production donning a space motif to illustrate the effects of distance on a relationship. “Head Held High” stands out even more in this regard, combining acoustic and electronic instrumentation and adding in vocal contributions from Hannah Clarke.

“Sink or Swim” is about returning to ground level, both lyrically and musically, with Castady’s vocals going from fuzzy to clear as it progresses. “I Know Where I’m Going” describes doubting someone will stick around once they see your flaws, even when they’ve shown they’re in for the long haul.

“These Are My Dreams” works really well as a penultimate track, as it melds the dreamy production of the album’s middle portion with the lyrical lessons learned of keeping yourself grounded. Finally, “Neverender” wraps things up with a sonic throwback to the band’s early days and lyrics about dropping all pretensions and releasing your emotions in a healthy way.

Taken as a whole, “Dear Future, Come Get Me” touches on feelings of regret, physical and emotional distance, insecurity and self-improvement in compelling ways. It feels like a transitional record between what The Fold was on their first few albums and what they would go on to do with their next records and on “Ninjago,” while still being good in its own right.