Album Review: Foxing by Foxing

So now, I shut it down and lock it up When Foxing stake their name to something, they fucking mean it. There's no way to delve into the band's self-titled, self-produced album without immediately discussing how heavy and unhinged this thing is. It's arguably the most powerful and complex record I've heard since mewithoutYou's masterful [Untitled] career finale, and it's also the most off guard I've been caught by a release's sheer fury since 'Vices' barged down the doors to Daisy.

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Change is all they've known, and with each successive record, they've gradually unwrapped who they are and will be - for themselves and no one else. Yet, doing things purely for yourself often feels unnatural, almost impossible, as our gaze tends to shift outward to witness the world unravel. In such chaos, it's hard not to succumb to pessimism and the perpetual cycle where cultural and emotional stagnation overlap - after all, the world is an often miserably dull place.

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There are few casual Foxing fans. If you’re in, you’re all the way in. For over a decade, no two Foxing records sound alike, from the chamber emo of their debut, The Albatross, to reflective Dealer to the endlessly inventive, towering Nearer My God to Passion Pit-leaning pop of Draw Down the Moon. The band’s inventiveness is the reward, and all of it hinges on the alchemy of the three consistent members-drummer Jon Hellwig, vocalist Conor Murphy, and guitarist/producer Eric Hudson.

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