Fin Fang Foom

Fin Fang Foom




Fin Fang Foom’s Monomyth due out 11-24-09 on Lovitt Records

The term “monomyth” refers to a pattern that underlies mythical narratives from various cultures: the hero ventures out into the world, contests with forces beyond his ken, and emerges victorious– but also transformed. For many bands, titling a record Monomyth would seem a grandiose statement, but for Fin Fang Foom, who’ve been currying a global fanbase from their home of Chapel Hill for twelve continuous years, it verges on plain fact.

If you’ve never heard Fin Fang Foom, or just think you know what they’re all about, Monomyth is an ideal moment to catch up. Not only is it their first new record in six years, it represents the pinnacle of their craft– the interplay between Michael Triplett’s pensive yet powerful guitar, Eddie Sanchez’s rumbling bass guitar, ominous keys, and restrained singing, and Mike Glass’ dynamic drumming has never been more subtle and powerful. The legendary Brian Paulson’s production captures every nuance of quietude and volume, beauty and menace. The title track sums up the current Fin Fang Foom sound, sturdily transitioning from airy piano keys to searing guitars– they favor the hard-won climax over the forced eruption.

And thematically, Monomyth sums up all the travails the band has weathered to this point– not literally, but emotionally. It’s a brooding yet hopeful work that finds Fin Fang Foom humbled but unbowed. This stance is informed by the tragic death of first drummer Peter Enriquez, and by Triplett’s near-death experience with spinal meningitis in 2004. When so many bands break up at the slightest difficulty, Fin Fang Foom’s perseverance through exceptional adversity is remarkable. The point of the record isn’t that the band members are mythical champions– it’s that everyday people, striving and surviving, are the real heroes. Lyricist Sanchez says that the record is about all of the trauma Fin Fang Foom has endured, but especially Triplett’s ordeal. “That, to me, is a hero’s journey,” says Sanchez. “From life to death and back.” Legions of bands play slow-burning post-rock that embraces the human struggle, but few can do so from such an authoritative, authentic position.

Fin Fang Foom formed in 1996, in Jacksonville, Florida. They moved to Chapel Hill, North Carolina, in 1998, and remain there to this day. The core membership includes Bassist/singer/keyboardist Eddie Sanchez, guitarist Michael Triplett, and drummer Mike Glass. They’ve toured all over the country, and have undertaken three European tours, with a 4th scheduled in 2010. Along the way, they’ve shared stages with luminaries like Blonde Redhead, June of 44, Don Caballero, Cursive, Man or Astroman?, and many others. They’ve released two prior full-length LPs: Texture, Structure, and the Conditions of Moods (2001) and With the Gift Comes the Curse (2003), both on Lovitt Records, as well as several EPs, splits, and singles. Lovitt will release Monomyth on Nov. 24. It was engineered, mixed, and produced by Brian Paulson, and recorded at Kudzu Ranch in Mebane, NC. It features back-up vocals by Dave Laney of Milemarker and Auxes (“Exploding Coast”) and Heather McEntire of Bellafea and Un Deux Trois (“Lonely Waves”). “Lonely Waves” also features violin by Brendan Rice. Fin Fang Foom will be touring behind


Fin Fang Foom Monomyth CD/LP 2009
Fin Fang Foom Live at the ATlantic vinyl series the FEST EDITION
2009 LP
Fin Fang Foom Native Tongue CD EP 2006
Saddle Up and Love It Compilation CD 2005
Various Artists Lovitt Transmissions: Volume One (DVD) 2004
Fin Fang Foom With The Gift Comes The Curse CD 2006
Fin Fang Foom Texture, Structure & the Condition of Moods CD/LP 2001
Fin Fang Foom Self-Titled 7" 2001
Fin Fang Foom Split Recording 10" 1999
Fin Fang Foom Unified Fortification CD EP 1998
Fin Fang Foom In Memory of Peter the Great 7"1997

Set List

30-45 minute set
no covers
Sample Set List:
Magnetic North
Native Tongue
Exploding Coast
Lonely Waves