Stranger than ‘Fiction:’ an odd but surprising collaboration

Keirstin Westfallen
Staff Writer
Jon Foreman of alt-rock outfit Switchfoot and Sean Watkins of the acoustic trio Nickel Creek walk into a bar. No, this isn’t an overused joke. This is the story of how Foreman and Watkins formed their new collaborative project Fiction Family, whose debut album of the same name combines their respective styles in a way that gives rise to a unique form of cutesy folk-pop.

The disc starts off with its first single, “When She’s Near,” which is about as sickeningly sweet as one can get, although not particularly in an unfortunate way.

Some lyrical clichés aside, the song is still the musical embodiment of the feeling of driving your car around with the windows rolled down.

The contrast between Foreman’s and Watkins’ respective vocals plays out as an advantage for Fiction Family. The fifth and sixth tracks, “Elements Combined” and “War in My Blood,” show off that contrast the most effectively, with Watkins providing the lead vocals on “Elements” and Foreman taking the reins on “War.” Foreman’s vocals are subtle and quirky, carrying any and every melody in an almost nonchalant way. Watkins’ vocals, however, are crisp and clear, giving sustenance to a starving song.

Although not entirely dysfunctional, the Family is still not without its complications. Foreman sings the track “Betrayal," which chronicles a man’s confusing murder of his best friend, in a morbidly matter-of-fact way. While undoubtedly intended to be philosophically provocative, the song ends up feeling only disturbingly deranged, although it does feature breathtaking guitar. “Please Don’t Call it Love” presents another frustrating problem. Amid spot-on and impressive guitar, appropriately paired with melancholy vocals, the song still insists upon falling flat for no apparent reason.

Fiction Family does redeem themselves, however, on many of the album’s additional tracks. “Mostly Prove Me Wrong” stands out as one of its strongest, introducing a breezy melody coupled with lyrics that firmly lodge themselves into a listener’s head. On “Not Sure,” the longing inherent in the lyrics is also poignantly captured though Watkins’ vocals. The album ends on a perfect note with “Look For Me Baby,” a track that blissfully sums up the entire album’s retro feel.

Fiction Family gives off a light and airy vibe, which almost guarantees that it will be remembered by those who actually listen to it. However, it is doubtful whether Fiction Family will be able to attract any new fans and ascend from their moderate obscurity; more than likely, the current listeners of Fiction Family will be comprised of the previous listeners of Foreman’s and Watkins’ respective acts. Although their debut has its problems, Fiction Family still overcomes the initial strangeness of their partnership and surprises with a mostly pleasant collection of songs.