Shepherd's Dog Fleshes Out Iron & Wine's Sound
I Reveal the Ever Changing Shapes Behind Iron & Wine's Last Release
I was very surprised by how strong the rhythmic element is in this album. Iron & Wine's previous efforts have been bare bones to the point of boring, at least over the course of a whole album. They have been little more than guitar, rhythmic or melodic, as the case may be, and Sam Beam's trademark hushed vocal delivery. Lyrics have always been strong, and individual songs might border on captivating, but it's a sound that can't hold attention for very long.
This album may stick to a certain minor key, gentle feel for all but the rockingest or funkiest parts, but it consistently finds different ways to do it. The first two songs build on African beats, and then the next song is mostly piano and things keep shifting from there. "Boy with a Coin" stands out as having the most easily discernible singing, with most of the rhythm coming from hand claps and voice while guitar provides some melody and somebody slowly cranks up some ethereal synths over the top. Then we get some vaudeville/barroom piano for "The Devil Never Sleeps."
Each song builds satisfyingly, with itself and with its neighbors. No song sits on its laurels or fails to bring some new sound or device to the party. Everything fits together like a well crafted stew however. The individual elements all contribute to the taste of the whole, while maintaining a flavor and character unique to themselves.
Those in the mood for a less harsh Tom Waits should definitely give this album a few dozen listens.
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Published by Eric Diebel
I am a film student at UNLV spewing out skewed reviews and news from the darker side of Las Vegas. The occasional recipe or something may pop up from time to time as well. I try and keep things fun, so try... View profile
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