ALBUM REVIEW: MARK KOZELEK - MARK KOZELEK WITH BEN BOYE & JIM WHITE

MARK KOZELEK
MARK KOZELEK WITH BEN BOYE & JIM WHITE
Caldo Verde / Rough Trade
Folk, Jazz Rock, Spoken Word, Slowcore.
Listening Format: CD



YOU'VE GOTTA BE FREAKIN' KIDDING ME!!!!!

If you happen to be one of the two people who regularly reads Frenchie's Reviews, you'll know that I've already written in depth thoughts on the previous THREE Mark Kozelek albums released in 2017 (here is the proof), and God dammit here comes another one! That's right, this is the 4th studio album that Mark Kozelek has released this year, and the second of which is a double album. So that is 6 CDs of new music in one year with a total running time of about 4.5 hours! HOLY SHIT!

So I'm gonna do something a little different this time around. Let's play the Mark Kozelek drinking game! Every time Mark talks about any of the following*, you take a shot**:

- Mark mentions Caroline.
- Mark mentions a dead relative or pet.
- Mark name checks a famous person he has met.
- Mark mentions a show he has been watching on HBO.
- Mark mentions his age.
- Mark mentions the date and/or time.

But if I have to be serious, even though I've already had to endure (and I mean ENDURE) 4 hours of Mark Kozelek rambling already this year, I surprisingly happened to enjoy this album more than any of his prior 2017 works. As you can imagine, because Mark is putting out vast quantities of music in such a short time span, his albums have become very messy, sporadic and repeated a lot of ideas, and in some ways that is still true here. The main difference comes from his collaborative partners, Ben Boye and Jim White (who played drums in The Dirty Three). These guys are seriously talented musicians. This double album leans to more of a Jazz Rock sound, whilst still taking in Folk elements that Mark Kozelek usually revels in. Mark really rises to the challenge of telling improvised stories, ramblings and spoken word over these long off-kilter jazzy dirges. It actually makes so much sense that I wonder why his prior works in this new Spoken Word (or Folk Rap as some have dubbed it) haven't gone for a more jazzy approach before now. The three performers bounce off each other really well. Yes Mark repeats topics he has already gone over before, but he also freshens the pot. Songs about his cat, Donald Trump bashings, the death of Chris Cornell, a recalling of a dream where he spoke to Elliott Smith's ghost, and even a song about the Ariana Grande Manchester Arena terrorist attack (which happened in my hometown).

If you haven't liked any of Mark Kozelek's many recent albums of Spoken Word, then this one isn't exactly going to win you over, but musically and lyrically it is easily the most captivating of his 2017 works, and one of the overall best things he has done since his masterpiece 'Benji'. 8/10

*I can't be fuckin' assed to count... The lyric sheet is like unfolding a road map!
** I do not actually endorse this drinking game, it will most likely kill you before disc 2 is finished!

ALBUM REVIEW: BRAND NEW - SCIENCE FICTION

BRAND NEW
SCIENCE FICTION
Procrastinate! Music Traitors (Self-Released)
Emo, Alternative Rock, Post-Hardcore.
Listening Format: Digital


BRAND NEW Brand New, BRAND NEW Brand New, BRAND NEW BRAND NEW!!!!! DROPPED RIGHT OUT OF THE BLUE!!! NOW IT'S TIME FOR A REVIEW...

When you think of the word Emo, it conjurers a lot of images, some of them are perhaps even derogatory or completely misguided. I remember as a teenager hearing At the Drive In, REM, Bright Eyes, Elliott Smith AND My Chemical Romance get described as "Emo"... But if there is one thing I know for sure, when referring to Emo as a music subgenre, Brand New are one of the first bands that should come to mind. This seminal New York formed band really are one of the most important Alternative Rock acts of the noughties. Their first album was released in 2001, and their previous release 'Daisy' bookended the decade in 2009. After that there were a few tours, and a few re-issues and archival releases, but just a week ago, Brand New's fifth album 'Science Fiction' dropped out of the blue, self-released by the band digitally, with physical releases due to follow. Their first album in 8 years!

So what can we expect from a BRAND NEW Brand New album in 2017? Recently their fellow peers American Football returned with a new album after a 17 year hiatus, and it was met with a very lukewarm reception from fans and critics. I personally thought it was great, but surprisingly the prospect of a more mature and grown up American Football fell on deaf ears. The Emo kids have now become Emo adults with families and houses... The natural expectation for Brand New's return would put them in a similar scenario. These guys aren't kids any more. They are all grown up and have very much matured, and this is the direction their music will move in too, right?! Their last album 'Daisy' injected more Post-Hardcore elements than ever, and was a rather visceral record, but Brand New have always shown a maturity in their writing too, with some exceptional Folk influenced ballads to their name. "Me Vs. Maradona Vs. Elvis' am'right!? Naturally 'Science Fiction' is by far their most mature and downbeat album to date. Long gone are the silly overlong song titles. Lyrically this is a very introspective record. Musically there are a lot of moments that verge on Indie Folk, with the Post-Hardcore side of the band taking much more of a backseat.

'Science Fiction' opens with a really ominous, crackling spoken word sample, as if you'd accidentally put on an old Godspeed You! Black Emperor record! It's actually a fantastic way to set the tone, as 'Lit Me Up' evolves into a slow-burning, spacey dirge filled with atmospheric reverb guitar. 'Could Never Be Heaven' is a straight up Folk ballad something (early) Sun Kil Moon might have written. Stand out 'In the Water' combines those acoustic guitar driven verses with loud, explosive guitar choruses, but has this late 70s "Ditch Trilogy" Neil Young kind of swampy feel going on. 'Science Fiction' is very much a laid back, restrained and reflective record, but the whole band still sound incredibly emotive and impassioned. As always, Jesse Lacey's vocals are show stealing, emoting so much raw feeling, and increasing versatility.

Though the overall tone of 'Science Fiction' is downbeat, sorrowful, dark and languid, there are still some bright, colourful and energetic moments on the record. 'Can't Get It Out' is a massive uplifting and anthemic song. It almost has that whiff of being a festival flag waver sing along, with this huge chorus punctuated with pounding drums and roaring guitar power chords. It's a simple, radio friendly gem of a song. 'Same Logic/Teeth' is brimming with ferocity, one of the few times where Lacey reaches for those yelping Hardcore influenced screams. Whilst 'Science Fiction' is a fantastically bold and consistent record, it isn't without the occasional stumbles in its hour long run time. "451" is a little too upbeat for it's own good, with this sort of Americana country ramble vibe going on. 'Desert''s falsetto harmonised vocal chorus comes across a little too over the top, but I guess every classic Emo album goes FULL EMO at some points, eh!? The album ends on a breathtaking finale, 'Batter Up'. A slow, dreamy, atmospheric Post-Rock track reminiscent of Mogwai's classic 'CODY'. This beautiful, softly sung gem reads like an epitaph and is such a sad, genuinely tear-jerking and powerful way for such a seminal band to bow out.

'Science Fiction' is strongly hinted to be Brand New's final album, with one last hurrah tour to follow, and not only is this a fantastic and logical way to go out, but it was totally worth that long wait too. Dropping it for free online was a neat little surprise for eagerly waiting fans. Brand New have delivered with a heavyweight album that has enough justified gold on it to be able to pull off that feat. It's no wonder why music fans are going absolutely crazy with joy at the release of this album. Some long time fans may lament the lack of the more fiery side of Brand New - There are is certainly no 'Sic Transit Gloria... Glory Fades' or 'Gasoline' on this record. But what we have hear perfectly reflects where this band are at in 2017, and the personalities of the band members nearing 40 years old. 'Science Fiction' is a deeply spun and involved record that reveals more and more colour and personality with each listen. Brand New have successfully created their most mature, sincere and introspective record in their discography, favouring sadness, beauty, texture and solitude over their more in your face moments of the past. It rings with just as much passion and true emotion as anything they have done prior, perhaps even more so. I personally can't wait to hold a physical copy in my hands. Brand New. 'Science Fiction'. A near perfect way to end a saga. 9/10.

ALBUM REVIEW: NICOLAS & THE SAINTS - GOODBYE TO BRIGHTON

NICOLAS & THE SAINTS
GOODBYE TO BRIGHTON
Self Released
Singer/Songwriter, Blues Rock, Jazz Rock.
Listening Format: Digital


'Goodbye to Brighton' is the second full length album by songwriter Nick Lewis, lyrically documenting his fears about turning 30 as well as moving away from his hometown and moving onto new plains in life. Musically the album is very much a transitional phase, as his first album had more of an Electronic influence. For 'Goodbye to Brighton' he has expanded to a five piece band. The album was recorded in just two days, favouring raw and improvisational performances. Sonically, the album takes elements of Blues and Jazz, with saxophones, clean guitars and female vocals. There is a strong influence of Tom Waits, especially in Lewis' croaky vocal delivery and storytelling lyrics.

'Goodbye to Brighton' experiments with both lively, Jazz influenced cuts, as well as slow burner ballads. The album opens with 'One Year', sounding like Lewis is slumped over a guitar in the corner of a seedy jazz club, the audience only half paying attention as he pours his heart out, "I'm sitting here all alone, drinking bourbon on my birthday". The album then shifts drastically into a roaring upbeat number punctuated by screaming sax and half-rapped vocals. There are mid paced radio friendly cuts too like 'Red Wine In the Morning' and 'Call My Own' lead by sharp drumbeats and catchy hooks. 'Heroes' is a straight out Rock song lead by distorted guitars. It is obvious there is a strong sound pallet mix throughout the record with plenty of ideas on show.

Whilst Nicolas & The Saints have delivered a rather diverse album in terms of writing, the actual flow of the album suffers because of it. Having one or two curveballs is always welcome, but I feel like the lyrical concept of 'Goodbye to Brighton' is far more suited to the slow burning ballads. Single 'Molly' in particular nails the style, letting the emotion of Lewis' voice really shine through. The same can be said for 'One Year' and knockout track 'Too Young'. The more this album attempts to be ragged and wild, the more it falters. 'So It Goes' is a sonic mess, the fast shouty, rapped vocals do not sit well upon the screaming saxophones, and it sounds like Lewis is running out of breath. Too many layers in the mix lead to a sound that just doesn't gel. Other tracks like the aforementioned 'Red Wine In the Morning' and 'Call My Own' suffer from being too clean and polite. The darkness, loneliness and bitterness of the lyrics start to lose their impact with an overly ear friendly sound. The album just doesn't manage to portray the true grit and heartache that the vocalist and primary songwriter is feeling inside. 

Ultimately, Nicolas & The Saints sound like they would be a blast to see live. Musically they are accomplished, with Nick's vocals especially being a force to be reckoned with. But he doesn't always gel emotionally and sonically with his band here, especially with the female vocalist who tends to clash more than compliment his voice. 'Goodbye to Brighton' is a case of ambitious and sometimes brilliant ideas, presented awkwardly and haphazardly. 6/10.

TRIPLE ALBUM REVIEW: SUN KIL MOON / MARK KOZELEK

INTRODUCTION

It should come as no secret that Mark Kozelek is a musical idol of mine. I consider him to be the best songwriter and lyricist out there. His ear for bone chilling, heart-breaking melodies and guitar arpeggios rarely seems to diminish, and he delivers some of the most heart on your sleeve, honest, passionate, direct and emotional lyrics of any singer out there. Kozelek first arrived with his band Red House Painters who released their 1992 debut album on 4AD Records. In retrospect they are now considered to be one of the greatest and most consistent Folk/Rock bands of the 90s. The 00s saw a change of name to Sun Kil Moon, but it was basically Mark's continuation of the project, instead housed on his own record label Caldo Verde. He has put out many solo albums, studio albums, live albums and collaborations under his own name and the Sun Kil Moon moniker throughout the last two decades.

2013's 'Perils From the Sea' album (originally planned to be released under the name Sun Kil Moon & The Album Leaf, but changed to Mark Kozelek & Jimmy LaValle at the last minute) saw a drastic shift in Mark's songwriting, lyrical and vocal style. He seemed to put less emphasis on singing and contemporary Folk songwriting, and instead started delivering these long, rambling stories that were half sung, half spoken word. Over the many albums that followed including his critically acclaimed 'Benji' and 'Universal Themes', Mark expanded on this style even further and really started delivering much more experimental works. Since 2013 he has entered the most prolific stage of his career. Where once he would put out an album every 2 years, now he is consistently putting out about 3 albums a year! The lyric booklets (or posters) that come with his CDs fold out like road maps.

In 2017 alone, Mark Kozelek has released 3 studio albums in January, May and July respectively (one being a double album), amounting in 4 hours of brand new material and a LOT of spoken word. I'm going to review all 3 of them in one, long Kozelek style rambling mess!

SUN KIL MOON
COMMON AS LIGHT & LOVE ARE RED VALLEYS OF BLOOD
Caldo Verde Records.
Folk, Spoken Word, Alternative Rock, Singer/Songwriter.
Listening Format: CD







As I mentioned in the introduction, Mark Kozelek has switched to a Spoken Word style to the point where he barely even sings any more. 'Common As Light & Love Are Red Valleys of Blood' is by far one of his most striking and experimental works yet, pushing this new Spoken Word style further than he ever has before. In comparison, 'Jesu / Sun Kil Moon' and 'Universal Themes' had plenty of Spoken Word passages, but also had a fair bit of singing as well. This DOUBLE album comes unquestionably close to being a full on Rap album. But make a note, it is certainly not a Hip Hop album (yes there is a difference), though it does contain a longer lyric sheet than Kendrick Lamar's 'To Pimp a Butterfly'. Many of the tracks on this album see drummer Steve Shelley laying down a Hip Hop inspired kick and snare drum beat as Mark delivers every single thought he has ever had in 2016 out loud. The songs are all very, very repetitive, largely built on one groove and rarely switching up. If you are lucky there might be some sort of chorus.

One of the most interesting things about being a Mark Kozelek fan recently is following his stories album to album. Familiar lyrical themes continue to crop up and he will reference celebrities or real life people in his life across multiple albums, or sometimes even follow up on a story he has already told on a previous song. It's rare to hear something this meta and self-referential in Rock and Folk music. Again Hip Hop is really the most prominent genre where an artist's lyrics will talk about other celebrities, real life people they know, and even mention themselves in the third person. It genuinely would not surprise me if Mark Kozelek had been listening to a lot of Hip Hop around the time he began writing this album. Mark's main lyrical stories on not just this album, but most of his recent albums seem to revolve around the following: His girlfriend Caroline. I feel like I practically know her from the amount Mark talks about what they get upto! Mark's favourite HBO shows. He loves True Detective! Touring and playing shows. There is often an obligatory story of an experience he had playing a particular show, or getting heckled by a crowd member. He talks about US politics a lot, touching upon his views on Trump, Clinton and guns quite often (he is anti-gun which is refreshing to hear). But the most emotionally involved stories of his often come when he describes friends and family members who have tragically passed away before their time. Mark Kozelek seems to be surrounded by death and tragedy. The way he went into so much painstaking detail about the death of his cousin Carissa in a house fire on 'Benji''s 'Carissa' has lead to not just one of his greatest songs, but truly one of the greatest songs of the decade. Mark certainly has a lot of interesting stories to tell, and name drops a lot of other musicians. There is a hilarious tongue in cheek moment 2 minutes into 'Philadelphia Cop' where Mark stops the song to pretend to take a phone call from Sufjan Stevens!

However whether or not the listener finds Mark's stories interesting or not, or whether or not they have the patience to endure them is a big test on this album. It is OVER 2 HOURS long, of basically non stop rambling. There are barely any moments where the music is just allowed to play, and it kind of makes the musicianship take a backseat to Mark's voice. Also as much as I love to hear Mark sing (I've listened to him for days on end) hearing his monotone voice speaking for 2 hours is a rather draining experience. Listening to this album in full starts to become akin to listening to an audio commentary track on a DVD. I feel like in terms of the music and songs here, this isn't Kozelek at his best. 5 or the 16 tracks presented here exceed the 9 minute mark, and only have one or two actual melodies or distinct sections to show for. Many tracks leave the Folk realm entirely. 'Philadelphia Cop' and 'The Highway Song' both sound very Funk inspired. There are a few tracks that feel like legitimate songs. 'I Love Portugal' is a standout that actually has a chorus you can sing along to. 'Bergen to Trondheim' is a moving tribute written after the passing of Muhammad Ali (Mark's love of boxing has always been a common theme in his writing). But on the flipside 'Sarah Lawrence College Song' has a very unpleasant chorus hook that you just wish had not been included.

'Common As Light...' is an incredibly self indulgent album that is basically just a vehicle for Mark to express as many of his inner monologues as possible. The album transpires like somebody reading out loud their diary or autobiography, and the music often feels second rate, especially coming from such a master songwriter. Nothing comes close to the emotionally invested and heart warming classics he has written such as 'Carry Me Ohio', 'Katy Song', 'Lost Verses' or 'I Watched the Film The Song Remains the Same'. I genuinely want to praise this album for its ambitions. It's like Mark has actually managed to invent Folk Rap with this album. And the album breaks the fourth wall so hard that it is strangely mesmerizing and certainly a unique listening experience. But I feel like in terms of songwriting and album flow, listening to the entire thing is too much of an overwhelming and exhausting experience to really enjoy. It would have been a much more successful outing if all the fat had been trimmed away. So much of this album is excruciating to sit through, even for experienced Mark Kozelek fans. I feel like a newbie to his work would be even more bewildered by this double album. And consider that this is just the first of 3 albums to be released by Mark in 2017! 6/10.

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JESU & SUN KIL MOON
30 SECONDS TO THE DECLINE OF PLANET EARTH
Caldo Verde Records.
Folk, Spoken Word, Alternative Rock, Singer/Songwriter.
Listening Format: CD







So as if Mark Kozelek dropping a double album of Spoken Word driven Folk music wasn't enough, a few months later arrives ANOTHER album of... Basically more of the same. At least it isn't a double album this time, but it is still SEVENTY SEVEN MINUTES IN LENGTH... Dear God...

The main difference between this album and 'Common As Light...' is that Justin K Broadrick of Godflesh and Jesu fame has written the bulk of the music. Mark basically just acts as primary lyricist and vocalist this time around. Justin and Mark became friends a few years ago after Mark happened to attend a Godflesh concert and was blown away... And yes he even wrote about the experience in 'The Possum' on Sun Kil Moon's 'Universal Themes' album. He also recorded a great Folk rendition of Godflesh's classic 'Like Rats'. Musically it is fairly similar to the sounds Kozelek conjured up on 'Common As Light...'. Lots of lengthy, drawn out, repetitive and stream of consciousness dirges. Except this time Broadrick has favoured programmed drums over Steve Shelley's live drums. There is a less of a Folk influence and more of an Electronic influence this time around.

Sadly this album is really a low point in the career of both of these legendary artists who I consider heroes of mine. At least their first collab had a bit more variety, with Broadrick even managing to successfully implement his droning, distorted guitars in the mix. Here these lengthy songs sound very rushed, using very unmemorable, entry level Electronic beats that barely hold any atmosphere or depth. In terms of an album flow as well, plonking a 17 minute long meandering track of nothingness into just the second track in the tracklist is just poor album structuring. I wanted to give up on the entire album about 5 minutes into this go nowhere track, but I managed to stick it out. On this track, 'Wheat Bread', Mark rambles on about hanging out at South By SouthWest and going on dates with his girlfriend Caroline. Once again, it feels like Mark has ran out of any fresh or interesting stories to tell and is just repeating things again. He already talked about the SXSW festival on 'Philadelphia Cop'. This 17 minute dross barely qualifies as a song, it is just infuriating to listen to. 'Needles Disney' is just as excruciating, describing a junkie wandering around Disneyland. 'The Greatest Conversation Ever In the History of the Universe' is about as mundane as the song title is to read. Another 10 minutes of second rate Electronica and Mark rambling on. The song ends with the lyrics "I'm gonna go to sleep now, there's nothing more to write". I mean... Really? The first time I got to the 5th track 'He's Bad' I actually just turned this album off and was like "FUCK THIS, I'M THROWING IN THE TOWEL! I CAN'T TAKE IT ANY MORE"!!! 'He's Bad' is Mark's commentary on Michael Jackson and whether MJ was a paedophile or not. I mean really, it's 2017 and you are choosing NOW to express this message? And this is coming from a musician who released a beautiful cover version of 'I'll Be There' in tribute to him after he died. The song has the chorus 'He's Bad, He's dead and I'm glad", which is just in incredibly bad taste...

Honestly I did not look forward going back to finish off this record, but I felt like I had to. Fortunately just to tease me, the final track 'A Dream of Winter' is actually a good song. It sounds like a PROPER SONG!!! Mark Kozelek actually sings. The song has a familiar structure and rests on a beautiful acoustic guitar arpeggio with his best vocal delivery on the album by far. But everything else on this record sounds extremely rushed and knocked together. This album feels like a bunch of leftovers from both the first Jesu & Sun Kil Moon collab, as well as 'Common as Light...'. Another big problem is the timing of this release. Sun Kil Moon has already dropped a 2 hour + record that is incredibly dense and challenging. I don't think a lot of fans were ready for ANOTHER release so soon (with a third one on the way after that). Sadly I have to say this is without contest, the lowest point in both Justin and Mark's prolific and great music careers. 3/10.

_______________

MARK KOZELEK & SEAN YEATON
YELLOW KITCHEN
Caldo Verde Records
Folk, Spoken Word, Avant-Garde, Singer/Songwriter.
Listening Format: CD











It's safe to say that I wasn't exactly looking forward to this release, considering I wasn't exactly ecstatic about Mark Kozelek's two other albums of 2017. Even though this is a fairly similar sound and writing approach to the two Sun Kil Moon albums released earlier this year, this one was just released under the Mark Kozelek name for reasons unknown. This one is a collaboration with Parquet Courts' Sean Yeaton, so I was expecting to hear some noisy rock, perhaps similar to some of the cuts from 'Universal Themes'. What I heard instead was very far from that. Musically this album has a very diverse array of instruments. I've heard piano, horns, wind instruments and guitars all crop up throughout this album. The overall vibe though is very dark, discordant and esoteric. None of the songs here adhere to a traditional structure and it is by far the most experimental and haunting release that Mark Kozelek has ever been a part of.

On this release Mark Kozelek vocally does a very similar thing to the other albums. Lots of spoken word, singing kept to a minimum, lots of long rambling. Tracks range from 5-12 minutes, but an overall running time of 45 minutes is actually a breath of fresh air, making it the most easy to digest of the three releases he has made this year. Lyrically I guess it does repeat a lot of stories and themes that Mark has already expressed repeatedly. Opener 'Time to Destination' is a scathing bashing of the Trump/Clinton election run up. Whilst 'The Reasons I Love You' is literally a list of 10 reasons why he loves his girlfriend Caroline (who has practically become a star in her own right, cropping up on nearly every Mark Kozelek release since 2013).

Whilst I am still not completely sold on Mark's Spoken Word phase of writing, 'Yellow Kitchen' is actually one of the most interesting releases in this style and surprisingly my favourite of his 3 albums released in 2017. It is genuinely the most unique and experimental. Mark's rambling fits really well over this experimental musicianship composed by Sean Yeaton, and evokes a whole different mood and vibe to the previous two 2017 albums. This is really dark and eerie stuff, and Mark's voice adapts very well to these weird sounds. I've heard some people compare this to Scott Walker's 'The Drift' and it is a pretty apt comparison. This is really strange and sinister, and I am genuinely enjoying it a lot more than I expected I would. Closing song 'Daffodils' literally sounds nightmarish and has Mark Kozelek barking like a wild dog. Surprisingly the album that seems to be getting the least attention from critics and fans is actually the best! 7/10.

_______________

CONCLUSION

This new Spoken Word phase of Mark Kozelek's career is what I like to call his "midlife crisis" phase. The guy is heading towards 50 years old now and he is probably tired of just writing amazing Folk music. Whilst I do miss how Mark would write these achingly beautiful guitar melodies and sing his heart out, I do appreciate this new direction he has taken. Mark Kozelek has genuinely released some of the most evocative, boundary pushing and experimental releases of the decade. I also get the impression that he is just doing whatever the fuck he wants, with whoever he wants, and he doesn't care about what anyone else thinks or even about album sales so much. But I think if he really, really wants to succeed in this style, he just needs to slow the fuck down. You don't need to be putting out 3 albums a year, or repeating the same ideas and lyrical themes. The rule of "quality over quantity" should still apply. Instead of releasing 4 hours of music in the space of 6 months, if Mark Kozelek had thought to just pick the best hour of all this material and release that instead, I think he would have made a far larger impression. It is one thing to challenge your listeners and fans, but Mark has gone a step too far and overloaded and bombarded his fans with too much material that becomes tedious to wade through. There is a bit of gold in all 3 of these releases, but it has not exactly been a pleasant experience wading through all 4 hours of it. 

ALBUM REVIEW: FLEET FOXES - CRACK UP

FLEET FOXES
CRACK UP
Nonesuch.
Folk, Baroque Pop, Indie Rock.
Listening Format: CD















Oh, Fleet Foxes! It's been too long since I last heard from you! It's been 6 years since the American Indie Folk band dropped their sophomore record 'Helplessness Blues', and I've really missed them. In case you didn't already know, Fleet Foxes are one of the most blissful and euphoric voices in contemporary Folk music. The band are masterminded by vocalist and guitarist Robin Pecknold, whose incredible vocals are surely one of the most vivid and beautiful in the genre. It's almost like he has this ability to take the soulful vocal harmonies of Simon & Garfunkel, and embody them together in one voice. Fleet Foxes have self produced their third album 'Crack Up', but I have to hand it to the mix of Phil Ek, because this is the absolute benchmark for how vocals should sound on a Folk recording. Robin has the perfect amount of reverb on his voice, and he just soars gracefully on every word he sings. This gives Fleet Foxes such an immediately grabbing and recognisable sound that just melts my heart every time I hear them.

Here is the kicker though... 'Crack Up' is Fleet Foxes least immediate record yet. Yes I liked the sound of the record from the first listen, but the actual songs and structure of the album actually took some work to really sink into. Their 2008 self titled debut (it feels like only yesterday that it was released) was very much a Folk Pop record. It is by the far their catchiest album, spearheaded by their breakout single 'White Winter Hymnal' that is so easy to sing and hum along to. 'Crack Up' doesn't actually have a song that screams "catchy" or "hit single" on it. Fleet Foxes have continued a maturity and intricacy in the sound that they experimented with on 'Helplessness Blues'. That album saw the band meddling with progressive touches and sticking multiple songs into the same track. They explore upon this even further with opener 'I Am All That I Need / Arroyo Seco / Thumbprint Scar'. This track doesn't quite feel like three different songs strung into one track though... Maybe they couldn't decide on a title? The song is actually one of the simplest, largely hanging on a single strummed guitar chord that gradually rises and falls like an ocean wave as bombastic strings punch in and out of the mix. Closer inspection of the album booklet reveals stage directions in the lyrics, such as "But I'm all that I nee- / [The band kicks the loner off the stage]" which seems to reveal 'Crack Up' as concept album. If I had to guess, these foxes are taking the "fleet" of their name into a more literal context, by telling the story of a fleet of ships and their travels across the ocean. 

As I said before, 'Crack Up' will take even the most avid Fleet Foxes fans a few full listens to really get on board with. A lot of the songs on this album seem to begin and end quite abruptly. It took me quite a few spins before I started to realise where one song ended and the next began. A lot of the album tends to flow together with little to no pause. However unlike classics albums that do this such as... THE classic album, 'Dark Side of the Moon', there aren't any interludes or instrumentals to help ease those transitions. When it works, it works really well. It's weird that 'Cassius-' and '-Naiads, Cassadies' felt the need to be split into separate tracks when they flow so gracefully into one another. And yet eight minute long 'Third of May / Odaigahara' probably could have split off around the five minute mark as the latter half shape-shifts into one of the more downbeat and melancholic moods, after what could easily have been one of the most uplifting and dare I say it... "hit single" of the album! It actually feels like Fleet Foxes are trying to shy away from an instant accessibility that made their debut album such a warm breeze, but when you play with such gorgeous sounds and brilliant instrumentation, there isn't really any need to be so evasive.

Whilst the album may not have anything that screams a Pop hit, it does still have some absolutely banging standout tracks. The aforementioned '-Naiads Cassadies' (as forgettable as the song title is), is the closest we get to a big singalong. This short and simple ditty is built on a tambourine shake and a pounding kick drum, as Robin spits rhetoric, "Who stole the life from you?" Instead of having a big chorus, Robin simply breaks into waves of ooohs and aaaahs. If it wasn't for the overly complex and inquisitive lyrics, I'd say this one might have you singing along, but you will certainly hum and tap your foot! 'Third of May...' explodes into life from the very first second, sounding so triumphant and passionate. The instrumentation is so rich, with the baroque vocal harmonies lifting the song over treacherous waves and jagged rocks, as sunlight bursts through the clouds and that massive chorus we were craving beams over the horizon. But my favourite song of all comes in the second half. 'On Another Ocean (January / June)' gradually builds with one of Robin's most haunting vocal performances and a brittle wandering piano. Halfway through the song suddenly morphs into this breathtaking electric guitar slacker rock strum that wouldn't sound out of place on a Mac DeMarco record. This simple transformation from stirringly dramatic to super chilled is a moment of true magic, delivering those glorious summery feels that I so craved. Unlike the eight and a half minute 'Third of May...', this is a track that doesn't feel long enough, having me reach for the skip back button! I shouldn't though, as it carries over superbly into 'Fool's Errand' that plays like a march into battle... Except, ya know... wielding acoustic guitars!

If I have to say anything negative about 'Crack Up' it is that it tries to be a little more complicated than it really needs to be. It is an admirable thing to want to challenge a listener, but Fleet Foxes actually sound better the lighter and more accessible they are. When they try to be a bit too clever, it can sometimes cloud the sheer passion and honesty that spews effortlessly from their music. But the working of grand orchestral parts and epic scale storytelling certainly shouldn't be dismissed. 'Crack Up' is their largest and most ambitious album yet, full of vivid instrumentation and compelling narratives. Like any good record, it will reward you with repeat listening and gradually unfold like a flower in bloom. Easily a strong album of the year contender. 8/10.

#324: FRIGHTENED RABBIT - LIVE AT HMV MANCHESTER

To celebrate the release of Frightened Rabbit's 5th studio album, "Painting of a Panic Attack", a few of the band members came to HMV Manchester to perform live and meet fans. Only lead vocalist and guitarist Scott Hutchinson performed in the live set. He came on the stage with a warm welcome from the 40 strong crowd of die hard fans. With just a microphone and his acoustic guitar, he launched into a lovely rendition of "Get Out" from the new album. It sounded like a post-break up song with the chorus "Get out of my heart". Instantly the folky, stripped down versions of the songs sounded fantastic, with strummed chords and Scott's incredibly passionate vocals. The next song "I Wish I Was Sober", also had very touching lyrics. Though he managed to contrast the downbeat lyrics well with his warm humour when he bantered with the crowd between songs. Scott's voice truly sailed across the shop as he sang his drunken blues away.

Scott then opened up requests from the crowd, half joking that he hoped he could remember how to play the chosen song. It seemed very successful though, and the crowd sang and cheered along. Scott finished on a song he said was inspired by fellow Scots Young Fathers, the closing track on the new album "Die Like a Rich Boy". The album has a full rock sound, with bright and deep production from The National's Aaron Dessner, yet I felt these intimate acoustic arrangements really opened the songs and the lyrics up even more. I felt that Scott's words and the emotion he sang them with was very touching and easy to connect with. His storytelling lyrics really spoke to the crowd and his fragile voice rang with true heart and soul. Perhaps it is a shame that the whole band didn't perform, but this solo performance certainly did Frightened Rabbit and the new album great justice. After a lovely performance, two of the other band members joined him to meet fans and sign copies of the new album.

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April 11th 2016 @ HMV Manchester.