There are a few great film/album mashups. Two of the more obvious ones are Wizard of Oz/Dark Side of the Moon and Toy Story/OK Computer synchronizations. But rare is the instance of finding a film inspired by and created completely in an album’s image – an album that stands alone, but also perfectly scores said film. Noah and the Whale accomplish this with their second album release and film debut, The First Days of Spring. At the recent screening of the film (by the same name) at Piano’s in NYC, the man who would prefer to remain behind the curtain (if he had his way) and front man of Noah, Charlie Fink, answered the eternal chicken/egg conundrum for fans, confirming that the album actually came first.

A bit about The First Days of Spring, the album. It’s gorgeous. It’s incredibly sad. It conveys a melancholy kind of hope in a time of transition. Somewhat fitting, given that drummer Doug Fink has gracefully resigned to pursue his career in medicine, and has been replaced by drummer/pianist Jack Hansom, and an additional guitarist, Fred Abbottland. It is noteworthy to mention that these newest Whalers were not part of this recording, but will nonetheless be future collaborators and play at all gigs going forward. First Days… has more electric guitar (lonely), and is laden with wistful minor chords on the strings and piano (fitting). And the lyrics, are, well, very Noah (i.e. “You know in a year, it’s going to be better / You know in a year, I’m going to be happy” and “I don’t think that it’s the end, but I know we can’t keep going”).

Sweetly depressing.

The storyline that threads through The First Days of Spring the film is not intended to match the lyrics of each song on the album, yet somehow the actions and expressions procured from the characters send similar messages. Both the film and the album as a standalone piece give way to an overwhelming sense of grasping to hope in situations where an individual feels physically and emotionally trapped. Perhaps this entrapment is rooted in the notion of definition – people often yearn and think fondly of simpler times of youth and young love – a time more conducive to imagination rather than taking a place in society. Once circumstances are (even mildly) defined, the unsettling suffocation of societal predestination sets in. The uncertainty of the future, being controlled by the invisible hand of societal norms, can resign a person to a bleak sense of status quo. Though it is a sad film, the aesthetics are incredible and there are hints of David Lynch sprinkled throughout it.

But enough with the pontificating. Buy the album, watch the film, find those glimmering moments of hope and love in life and never let them go.

Last 5 posts by Holly L. Perry

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