Following the disappointment of the last single, the mix here is noticeably better. The chaotic guitar - almost in duet with singer Will Toledo as it flickers between each ear - is a particularly welcome surprise. Avid CSH listeners will also find relief in the vocal layering. While the vocals are still a little too clean, they serve the track well, with the overlapping, joyfully overwhelming outro serving as a prime example. The drums are far more present, the bass sits well in the mix, and the piano moves in and out of the background to great effect. 'CCF' is a complete mix - refreshingly detailed compared to the previous single.
The songwriting is strong, with the track comfortably holding its eight-minute runtime. Lyrically, Toledo shifts from his signature confessionals to more abstract storytelling. This new style will be interesting to see develop, though the lack of a gut-punch line in both new singles leaves CSH’s usual emotional depth absent.
Weak synth choices and an uninspired acoustic break - reminiscent of ‘Martin’, one of the previous LP’s weakest tracks – weigh the song down somewhat. The synth’s offences are particularly apparent during its unimpressive solo before the build-up. The move towards a cleaner, pop-ish sound will likely unsettle fans of the band’s broader discography, especially given that The Scholars is being advertised as quite the grand project. The new direction is seemingly a result of the (heavily unjustified) negative critical reception to Making A Door Less Open, one of the band’s more experimental records.
Despite its flaws, ‘CFF’ reignites interest in The Scholars – an excitement ‘Gethsemane’ failed to inspire. A broader view of the band’s material sees this track finding a meek triumph in besting their weakest song since ‘Hollywood’ – and little else. The Scholars is set to release on 2 May and will offer some answers to worried fans, though perhaps not the ones they’re hoping for.