Fingees Crossed came together over a two-year span. After a week of capturing the skeletons for a dozen songs, the band members disbanded to their individual studios to layer tracks independently. Leels reconvened for a final mix and the band’s third album was born.
This individualistic approach to songwriting hides in the shadow of every track and makes for an album that lacks clear musical vision. There are two conflicting bands within Leels: a Pink Floyd, Gabriel-esque prog-band and a melodic rock group reminiscent of Grateful Dead’s country shuffles. Sounds like a promising combination of influences; however, these sounds tend to clash instead of gel throughout the album.
The main conflict lies between the vocal melodies that echo Roger Waters’ enigmatic whispers and the roots-rock sound of the guitar, bass, and drums. Over folk rhythms, we hear mathematical, ironic descriptions of the human condition and universal truths. Unfortunately, these attempts at profound cryptic messages sometimes slip into a sphere comparable to a Ween parody of a Gabriel-era Genesis song, and the intricately melodic instrumentation becomes overshadowed (sometimes abandoned completely) by the vocal-line.
The album’s highlights are when Leels somehow unifies its opposing parts, such as the piano-driven psyche-folk track, “Work,” and the dreamy country-rock sound of “Chriss Cross.” When Leels members do find a common thread in their differences and manage to each carefully step outside their comfort zones into a realm of clear intent, Fingees Crossed shines with uplifting moments of superb musicianship and moving lyrics. If this band discovers a shared vision during their next songwriting session, great things are to come . . .
