In May 2010, Feeding Fingers frontman, Justin Curfman left the United States in favor of a life in Germany, a mere two months after completing a successful tour of Europe with his group Feeding Fingers, supporting such acts as, Nitzer Ebb, former BAUHAUS, Love & Rockets and Tones on Tail bassist, David J. and IAMX (Chris Corner – formerly of Sneaker Pimps).
From that spring of 2010 in Cologne, Germany, Curfman began production on what was to become Feeding Fingers’ fourth, full-length album release, “The Occupant”. Production on the album then moved east with Curfman into Ingolstadt (birthplace of The Illuminati and Dr. Frankenstein’s Monster) in 2011 – then, finally settling in Salzburg, Austria (that picturesque city and home of Wolfgang Amadeus Mozart) from early 2012 through the winter of 2013, where the album was completed inside the halls of the University of Salzburg Mozarteum and the Salzburg Musikum with support from listeners through a successful Kickstarter campaign and from the group’s long-time management and production partners, David I. Nunez (Tephramedia) and legendary radio personality, James “Coyote J.” Battan.
“My intention with The Occupant is to expand the musical vocabulary of the group as much as I am able to at this point in my development as an artist and to attempt to stray away from at least some of the conventional trappings that our listeners have come to expect from a Feeding Fingers release, but hopefully doing so in a more natural and non-deliberate manner. No pushing. No shoving. We have all seen time and time again throughout history what happens when an artist starts to bully his or her own work into being something that it simply should not be - failure is more often than not the result. I have tried my best here not to antagonize my own creativity too much with this recording. This is partially why, I believe, that it has taken three years for this album to show itself to me.”
Throughout the production of “The Occupant”, Curfman enlisted assistance not only from his band, but from the Salzburg Boys Choir, a Serbian female violinist, a Cuban female cellist and an American electronic musician – all of which appearing on the album. Additionally, in an effort to “expand the musical vocabulary of the group”, Curfman strayed away from Feeding Fingers’ more familiar guitar, drum and bass-driven pieces (though not entirely) in favor of composing music on a theremin, kalimbas, glockenspiels, a ukulele, an array of pianos and a hand-cranked, punch-card music box. Curfman has also expanded not only the group’s vocabulary, but the group’s language itself with the inclusion of the opening track on the album, “Eine Einladung in Ihr Gesicht mit Liebe geschnitzt” – a song written by Curfman, entirely in German and performed by a soloist member of the Salzburg Boys Choir.
Despite this description of Feeding Fingers’ seemingly much-too divergent latest release, this fourth album will, no doubt, rest well within the group’s catalog. Found easily within each of the album’s eleven tracks are all of the characteristic elements that make a Feeding Fingers release a Feeding Fingers release. Those familiar with the group’s ability to, “resonate with a certain tragic and ethereal beauty” (Don’t Panic, Singapore) and to craft, “specific… authentic… personal… heart-heavy” (LabelLos, Germany) music will not be disappointed. For the uninitiated, be prepared to experience a, “beautiful album that grabs you by the throat from the first note until the last…” (Dark Entries Magazine, Belgium).