I Hope You're Happy by Blue October - Album Review

   ★ ★ ★ ★ out of 5

   Texas-based alternative rock band Blue October have always worn their emotions on their sleeves, thanks in part to lead singer Justin Furstenfeld's willingness to share in his seemingly constant pain and sorrow. That's likely why the band's biggest radio hits to date -- "Hate Me" and "Into The Ocean" -- were able to form long-lasting connections with down-trotted listeners desperately searching for a fractured yet comforting voice to confined in.

   Since their Foiled breakout success in 2006, the band has been consistently churning out albums to relatively subdued commercial sales and critical praise -- 2011s Any Man in America remains their only Top 10-charting album to date. However, for their latest ninth studio album I Hope You're Happy, the rock band is relying on more pop-leaning aesthetic and production to tell the story of Furstenfeld's new found happiness in his personal life.

   The move may be a controversial approach, fan base-wise, to convey stories of reconciliation, the joys of fatherhood, sobriety and exercising one’s pesky demons. However, though Blue October are heading in a different creative direction – Furstenfeld helms productions for the first time and title track lead single is gloriously influenced by 80s new wave – thankfully the components which makes the music unique to the band – string arrangements, a sense of vigor and angst, passionate songwriting – are kept intact.

   For album opener “Daylight”, the change in sound is immediately evident. Filling space with explosive drums and modern beats, Furstenfeld encourages a temporary celebration as an escape from the grim reality of life. Concealing dark secrets, feeling forced to wear a mask, running away from the truth, all things that disappear when one opens up to let loose. The finished product is an edgy bridge to previous projects, a palette cleanser for what’s still to come.

   “Your Love Is Like a Car Crash” details the too-often-told story of man loves woman; woman has sights set on another. With intoxicating and manipulated piano keys setting the tone for heartbreak to unfold, Blue October allows numerous different styles clash together to convey the roller coaster of emotions behind the songwriting. Delicate strings surround a voice of desire and hope, while hard, crashing beats and drums throughout the chorus shed light on the truth.

   The band unexpectedly dives into the world of dream-pop with “I Want to Come Back Home”, a bittersweet expression of forgiveness and second chances. Again, rousing strings lay a majority of the groundwork, while Furstenfeld’s slightly defeated vocals are mixed with 80s-leaning pop production to exude a false sense of optimism. “Oh I need to tell you thank you, ‘cause I think that you're the one, you don't see what goes on in me, or all the damage that I've done” he admits on verse two.

   The brash bluntness of songwriting on “I’ll Do Me, You Do You” paired with mid-tempo production creates a surreal environment for one of the most authentic relationship clap backs ever to thrive. Most individuals deal with self-destructive tendencies during post-breakup aftermath yet Furstenfeld sounds to have found strength in the deterioration of his relationship. He has now found beauty in his reflection, provoking an ex with greatness they will never be able to witness.

   For lead single "I Hope You're Happy", the band follows in Furstenfeld's surprisingly chipper footsteps as the effort becomes the most upbeat and optimistic piece they've shared in a few years. Though with further dissection and Furstenfeld's way with words, the song might not be coming from a fully content heart. While it sounds as if he is being forced to let go of an important relationship, the artist could simply be encouraging a loved one to pursue their dreams without the fear of failing. The aspect of uncertainty is the song's main highlight.

   Blue October falls back into a deep pit of anger and angst on the electrifying and politically current “Colors Collide”. With trademark rock aesthetic back at the forefront, lyrics of confusion about racial divides and divisiveness claim to be reason enough to burn everything to the ground and start anew. “While style is a necessity, don't let 'em get the best of me, and God continue blessing me,” Furstenfeld pointedly shouts at naysayers on the second verse.

   Following a cleansing “Remission in Cmaj” instrumental interlude, ballad “How To Dance in Time” finds Furstenfeld revisiting and trying to make amends for damage done to a previous love. Looking back at the situation with a clearer mind and set of eyes, the realization that he allowed his words speak louder than his actions is a crushing blow. Promising to now be a better man in the future might take some of the immediate sting away, but it won’t change the unfortunate outcome.

   “King” is another expression of reconciliation and desperation. While Furstenfeld does not sound to be referring to a love in the now, rather a connection he again allowed to slip away, his passionate performance will allow any listener to feel like “the one” in his eyes. “And when you take away everything, just you in my arms, I feel like a king, holding you close, I love you like I won't let go,” he sings, reminiscing on the joy another once brought into his life.

   Acoustic guitars open the country/folk-leaning “Let Forever Mean Forever”, a relaxed ballad about loving another, even in the afterlife. Production is kept minimal, to allow a stunning vocal performance shine as bright as possible. However, though sentiment is intact and towards the end Furstenfeld truly makes the intriguing experimentation work for him, the finished product comes off contrived and out of place with the rest of the track list.

   “All That We Are” bares some similarities to its predecessor, taking listeners down the country/folk path once again. Yet here, the track cleverly blends touches of Blue October’s rock edge at appropriate/impactful moments with the string instruments woven throughout. Finding Furstenfeld at the tail end of heartache, wondering where things went wrong and pleading for an opportunity to reunite and rekindle the flame. It’s a touching testament to ever-lasting love.

   The album closes out with the somber, nine-minute “Further Dive (The House That Dylan Built)”. The tranquil and heartfelt ballad, complete with a full orchestra, touches on loss, its chilling after effects, and the vocalist’s desire to one day be reunited with a loved one. “Flashlight, a hollow fold, ink seeps through into my bones, and I'll fly there alone, ‘cause I promised I would be brave, he was so brave,” Furstenfeld sings, hinting at the extent of the pain trapped underneath.

   I Hope You’re Happy will test the resolve of Blue October's fan base, just as it must have tested the band themselves. Lead vocalist Justin Furstenfeld appears to now be at a more joyous turning point in his life than when previous albums were recorded. Those albums were filled to the brim with distress and hopelessness, touching on the loss of one’s will power and faith. For their ninth album though, not only are the band and its leader moving towards the light with a positive outlook, they are incorporating more upbeat production to properly convey the message. It is a natural recipe that could have come off as comical or desperate. However, thanks to always-sharp and sophisticated instrumental skills, vocals that have not lost an ounce of passion, and stories worth being told, the end result is a successful representation of growth and hopefully a sign of next steps in the same direction.

Tracks to Hear: "Your Love Is Like a Car Crash", "I'll Do Me, You Do You", "I Hope You're Happy", "Colors Collide", and "All That We Are"