Frontier(s) is set to release their debut album There Will be No Miracles Here on the Arena Rock Record Company August 10th. Chris Higdon has been here before. The powerful set of pipes that engraved the bombastic flair of Elliott — and previous to that, Falling Forward, — into the tender consciousness of an entire generation of indie kids has returned with Frontier(s). The Louisville quartet has been gaining momentum since 2008, gradually building the massive sonic structures that make up their debut full-length, There Will Be No Miracles Here.
But for Higdon, this is not a victory lap. An artist who (reluctantly, we’ll assume) laid the groundwork for the genre of emo — back before the word lost its luster to mall kids with regrettable hair cuts — his finest creative days are not just relegated to the past. Just beyond the rolling bass lines of the opening moments in There Will Be No Miracles Here it’s abundantly clear that the vast experience of Frontier(s) is transparent in the band’s masterfully assembled post-rock sound.
“The whole point for me with playing music again was to get to write music that I missed hearing,” explains Higdon, who initially assembled Frontier(s) alongside bassist Bryan Todd. The pair was later joined by Matthew Wieder on guitar and Eagle Barber on drums. “We started this band with the main goal to write music we were into, and to keep it less calculated than the current climate of heavy guitar-hinged music.” While the long shadows of Elliott’s False Cathedrals are witnessed in the unrelenting choruses of songs like “Von Veneer” and “Marching Line,” There Will Be No Miracles Here is a record of an entirely different identity. Hook heavy and dramatic, Frontier(s) has the nervous energy of youth alongside the discretion of experience. Proof that for Higdon and company, their finest moment is right now.