Fred Abong – Fear Pageant

By RingMaster Review on August 31, 2023 • ( 0 )

Fear Pageant is the seventh album from ‘Alternative folk-rock troubadour’ FRED ABONG and a release which the New Orleans-based singer songwriter describes as one “…I could finally do everything myself, which has always been my dream. Fear Pageant is thus my first attempt at a truly DIY solo effort”. The collection of songs it shares bears the familiarly unique and atypical presence and emotive heart of previous encounters, something we call the ‘Abong Effect’ in the office, but together have forged the most compelling outing with their creator yet.

A notable part of the Rhode Island hardcore punk scene in the 1980’s as a drummer, bassist and guitarist, Abong was more renowned as bassist for THROWING MUSES and then BELLY across the early years of the following decade. Returning to music after many years of academic pursuits and teaching at various universities, with playing bass in the KRISTIN HERSH ELECTRIC TRIO another alluring string to his creative bow, Abong’s solo adventure has been gathering pace and recognition by the release and now for us with Fear Pageant more than outshining previous adventures personal acclaim is set to erupt further.

Abong creates songs aligning imagination enlivening sound with heart bred and searching lyrical contemplation, proposals sharing a marriage of adventure and intimacy and, even with that certain familiarity of its author’s touch, a quest of unpredictability which over releases has increasingly enthralled us, as indeed so many others. There is a challenging aspect to his music, to expectations and imagination which, as Fear Pageant again highlighted, means we personally make at least two ventures within the release, the first to embrace the music and the second the lyrical explorations, before merging the two for our true feelings though the result is more than generally the same, pleasure.

Described as a set of songs “rooted in the same existential and romantic hang-ups as usual” of their creator and tracks broaching the series of never-ending personal dramas experienced and that others might also identify with, Fear Pageant opens with one of its earlier lead singles, Father. A piece of atmospheric intimation and lyrical musing with a spiritual breath to its presence and insinuation, the song enveloped the senses with Abong’s instinctively organic and alluringly raw breath of voice and sound, an intangible air and the shadows of doubt adding to its soporific presence and fascination.

Half Wit follows and immediately stroked close attention with a strummed guitar clang and the naturalistic innocence of keys. Instantly it held court on ears with Abong’s low key tone and instinctively inquisitive words escalating the inescapable pull of the song with that urge to explore only escalated as new twists took the song through a stormy maze of enterprise and temptation before the album’s title track presented an evocative contemplation of life’s journey and its own twists and turns, all within an atmospheric sphere.

Both the orchestrally folkish call of Hungry Ghost and Bats with its crystalline air and indie shuffle easily seduced, with America 808 just as enthralling in its invitation. The trio alone reveal the diversity of breath and imagination within Abong’s songwriting and songs, and his anomalous dexterity with the latter of the three weaving a meditative rumination which feels half disappointment and half celebration in its thought for one spellbinding proposal of a ballad.

It is fair to say that even with its striking start, Fear Pageant just got further under the skin and more captivating by the song with My Way continuing the richer persuasion. From its theatrical wings Abong shares an intimate contemplation of voice and guitar yet from that first moment, there is a bright radiance to the song which is soon embraced by keys against the darker moodiness of bass and lively rhythmic flirtation, it all uniting in keen enterprise as vocals guide the lively adventure. When released as a single, we called the track our favourite outing with FRED ABONG so far but throughout the album it is a declaration challenged and no more so than by the enlivening shadow wrapped serenade of Shadows and especially Reservoirs through its angularly melodies, euphoric winds and rock ‘n’ roll nurtured instincts. Again, they are a pair of songs which tease and ultimately chase off expectations with an instinctive inclination for the off-centre and unconventional in composing, craft and imagination; the second of the two stealing the top spot for favourite moment.

Completed by the pastorally woven, slightly XTC suggestive Sailor, the album left ears and pleasure as absorbed as they were when it began, just with a deeper itch and greedier appetite though which the great clamour tinted air to the release, even in the quieter reflective moments of his explorations, added greater fuel to.

FRED ABONG has been referred to as “Elliott Smith with balls” and creating a blend of “ragged Replacements and lyric-driven Bob Dylan” but truly he and his music is unique to all and Fear Pageant their finest portrayal yet.

Fear Pageant is out now via Disc Drive; available digitally and on CD @ https://fredabong.bandcamp.com/album/fear-pageant and across music platforms such as Spotify