Today's Music of the Day is Iron & Wine's Woman King EP. This is something I bought on vinyl and have been listening to, a little bit, over the past few weeks. It's just a six-song EP, and it goes by very quickly, but I would still be hard-pressed not to recommend it to anyone who can tolerate the sound of an acoustic guitar.
The formula for this album is simple, mostly acoustic guitar and some well-placed piano, with Sam Beam shouldering almost all of the vocal duties (I think there are some backup singers harmonizing with him in places). The overall sound is a little more boisterous in tempo (though not necessarily mood) than earlier Iron & Wine albums, and the guitars and piano are reasonably busy. This isn't a bad thing by any means, but it is a nudge towards something other than the Iron & Wine that gave us 'Sea and the Rhythm'. (It definitely serves as a first step, at least, towards the more complicated songs of The Shepherd's Dog.)
Personally, I really enjoy this album. The songs are still brooding and foreboding, and Beam's voice still sounds the way that a cold wind feels. The lyrics are pretty good, though they serve the music more than the other way around. I would be hard pressed to favor a song over the closer, the bouncy "Evening on the Ground (Lilith's Song)", but the title track is very good, and there really isn't a weak link to be found. The only real fault is that the album is an EP; maybe a full-length album wouldn't be able to carry the power in each song that Woman King does.
In Short: If you don't like Iron & Wine, that's fine. I guess. But if you do, and you don't have this album, you should do something about it.
In Other News:
Meh, I'll let you know.
(Also, some of the eMusic I got this month - Beirut, and The Pains of Being Earnest at Heart or something like that, are pretty good. Not sure about those Beirut tracks with the electronics, yet.)
Showing posts with label Iron and Wine. Show all posts
Showing posts with label Iron and Wine. Show all posts
Tuesday, February 24, 2009
Thursday, January 29, 2009
Iron & Wine / Calexico, plus some other miscellany
Today I don't really have an album review; I'm listening to a pair of radio concerts(?) from Calexico, one with Iron & Wine, from NPR's All Songs Considered. Their sounds are a little different - Calexico has more of a mariachi-band influence, for lack of a better description - but the two go together well. The sets are simple and fairly organic in sound; there are a couple covers here, but these are mostly original tunes. (Which is a good thing - the covers are nice, but both of these artists have such strong original material that the covers would detract from the experience, given more of a presence.)
As much as the Calexico tunes are wonderful - and they are - the real treat is hearing the more robust versions of the Iron & Wine tunes. I could go on and on about Sam Beam's sound, as it might be limited in range but certainly not in effect, but it's interesting to hear some of his tunes with drums and, mercy, trumpets. Songs like "16, Maybe Less" and "Burn That Broken Bed" really jump from the speakers with the more elaborate arrangements. My personal favorite song from this bunch is still "He Lays in the Reins", even with the bizarre operatic interlude. I could be persuaded to part with these songs, as I think they are somewhat public domain; if they aren't, though, may the RIAA have mercy on my pirate soul.
In Other News:
Maybe tomorrow, there will be a review of A.C. Newman's new album, Get Guilty. It's really freakin' good, in spite of the somewhat questionable title. It's a little different from The Slow Wonder, which I loved, but it might even be better. Hard to say - there's not a wrong choice between the two.
I think I broke up with my coffee shop last night, due to its maddening random closures. I might still go back there for a crepe sometime, but I expect that until the weather changes, you can find me sitting by the faux fireplace in Caribou Coffee, right under the heat vent.
Canadian Pilgrimage, step 1: complete.
Somehow, I may find myself with a week of vacation in March. Sinister plans are afoot.
As much as the Calexico tunes are wonderful - and they are - the real treat is hearing the more robust versions of the Iron & Wine tunes. I could go on and on about Sam Beam's sound, as it might be limited in range but certainly not in effect, but it's interesting to hear some of his tunes with drums and, mercy, trumpets. Songs like "16, Maybe Less" and "Burn That Broken Bed" really jump from the speakers with the more elaborate arrangements. My personal favorite song from this bunch is still "He Lays in the Reins", even with the bizarre operatic interlude. I could be persuaded to part with these songs, as I think they are somewhat public domain; if they aren't, though, may the RIAA have mercy on my pirate soul.
In Other News:
Maybe tomorrow, there will be a review of A.C. Newman's new album, Get Guilty. It's really freakin' good, in spite of the somewhat questionable title. It's a little different from The Slow Wonder, which I loved, but it might even be better. Hard to say - there's not a wrong choice between the two.
I think I broke up with my coffee shop last night, due to its maddening random closures. I might still go back there for a crepe sometime, but I expect that until the weather changes, you can find me sitting by the faux fireplace in Caribou Coffee, right under the heat vent.
Canadian Pilgrimage, step 1: complete.
Somehow, I may find myself with a week of vacation in March. Sinister plans are afoot.
Tuesday, September 9, 2008
The Shepherd's Dog
Today's Music That Jason Is Fond Of happens to be The Shepherd's Dog, by Iron & Wine. No real snappy intro today, just note that as Iron & Wine is technically Sam Beam, I'll probably use the band/stage name and the artist's name interchangeably in the following paragraph(s). Also, Sam Beam has a huge, thick shrubbery of a beard.
The Shepherd's Dog represents a departure from the earlier Iron & Wine albums, something that was hinted at on Beam's collaboration with Calexico (In the Reins) in the recent past. This can't be much of a surprise, though; as the Iron & Wine sound basically began as one man with hushed, Neil Young-sounding vocals and a single acoustic guitar, there wasn't really anywhere to go with the sound but to add more elements.
While I am partial to the earlier Iron & Wine albums, I think that The Shepherd's Dog succeeds in its own right. It still maintains a very organic, Southern sound, but doesn't lose much with the addition of the other instruments. Some of the arrangements are a little out there, but as a whole the album is pretty good (if not great). "Boy With A Coin" is probably as accessible as any track on the album, and it's certainly listenable - it probably represents what you should expect from this album as much as any individual song does.
So in short: The Shepherd's Dog doesn't have the minimalist charm of earlier Iron & Wine albums, but it hasn't lost its soul, and is worth listening to if you're an Iron & Wine fan (or if you just like music with acoustic guitars and such).
In Other News:
FOUR TET HECK YES
Also, don't let me get discouraged. It's all small stuff, really.
Did I mention that the film version of McCarthy's The Road comes out this year? I can't remember the last time I was actually looking forward to a movie. Actually, that's not true - it was the last Wes Anderson movie. I'm so white.
The Shepherd's Dog represents a departure from the earlier Iron & Wine albums, something that was hinted at on Beam's collaboration with Calexico (In the Reins) in the recent past. This can't be much of a surprise, though; as the Iron & Wine sound basically began as one man with hushed, Neil Young-sounding vocals and a single acoustic guitar, there wasn't really anywhere to go with the sound but to add more elements.
While I am partial to the earlier Iron & Wine albums, I think that The Shepherd's Dog succeeds in its own right. It still maintains a very organic, Southern sound, but doesn't lose much with the addition of the other instruments. Some of the arrangements are a little out there, but as a whole the album is pretty good (if not great). "Boy With A Coin" is probably as accessible as any track on the album, and it's certainly listenable - it probably represents what you should expect from this album as much as any individual song does.
So in short: The Shepherd's Dog doesn't have the minimalist charm of earlier Iron & Wine albums, but it hasn't lost its soul, and is worth listening to if you're an Iron & Wine fan (or if you just like music with acoustic guitars and such).
In Other News:
FOUR TET HECK YES
Also, don't let me get discouraged. It's all small stuff, really.
Did I mention that the film version of McCarthy's The Road comes out this year? I can't remember the last time I was actually looking forward to a movie. Actually, that's not true - it was the last Wes Anderson movie. I'm so white.
Sunday, August 3, 2008
In The Reins
Today's Music That Is Pretty Great but Also Gets Blogged About Because It's Too Hot Outside is In The Reins, from Iron & Wine and Calexico. This is a short album, an 'EP' as the kids say now, but it's very much quality over quantity.
This album, rather than featuring a clash of styles, features something of a mesh of styles. It has the hushed, reserved Iron & Wine vocals and guitar, but also something of the pop-mariachi sound of Calexico. The whole effect seems to find a happy middle, though most songs lean one way or the other. It's a wonderful collaboration, something that allows the individual talents to shine while not overexposing anyone.
The strings on this album are restrained but suit the mood well; the vocal harmonies are very much in the same vein. As a whole, this EP makes me wish that Sam Beam and the gents from Calexico would maybe get snowed in somewhere that had lots of scratch paper and some instruments, just for the sake of giving us all a full-length album. But for now, we have In The Reins, and let's not take it lightly. I won't go into much detail on specific songs, but I am partial to the title track ("He Lays In The Reins"). If it doesn't evoke something from you, well, you probably aren't doing it right.
In Other News:
What a ridiculous weekend. It was great, but let's hope it doesn't happen again for a while. :p
This album, rather than featuring a clash of styles, features something of a mesh of styles. It has the hushed, reserved Iron & Wine vocals and guitar, but also something of the pop-mariachi sound of Calexico. The whole effect seems to find a happy middle, though most songs lean one way or the other. It's a wonderful collaboration, something that allows the individual talents to shine while not overexposing anyone.
The strings on this album are restrained but suit the mood well; the vocal harmonies are very much in the same vein. As a whole, this EP makes me wish that Sam Beam and the gents from Calexico would maybe get snowed in somewhere that had lots of scratch paper and some instruments, just for the sake of giving us all a full-length album. But for now, we have In The Reins, and let's not take it lightly. I won't go into much detail on specific songs, but I am partial to the title track ("He Lays In The Reins"). If it doesn't evoke something from you, well, you probably aren't doing it right.
In Other News:
What a ridiculous weekend. It was great, but let's hope it doesn't happen again for a while. :p
Friday, July 13, 2007
The Creek Drank The Cradle
Today's Music That Jason Is Listening To is Iron & Wine's The Creek Drank The Cradle. I believe that some of the other Iron & Wine albums or LPs are more popular, but this is the one I was able to get at the library, so it is what shall be reviewed.
If you aren't familiar with Iron & Wine, it's essentially the stage name for Sam Beam. Creek is his first full-length album. It's a laid-back semi-Southern album, utilizing a number of secondary instruments (banjo, slide guitar, etc.) but all based around a man with a serious beard and a guitar. It's hard to listen to this and not think of Sam Beam as something of a hippie Nick Drake, if that gives you any idea as to what to expect. This is the album I like to listen to on Friday afternoons when there's nobody else around and I can do what I want at work. It's very laid-back with reserved vocals, perfect for relaxing or just maintaining a good mood. I can't ever imagine Beam going electric, not in the sense that Dylan went electric, but that's okay. I endorse this album fully, even if you'll never find any of these songs on my MP3 player (mostly because it is almost exclusively used at the gym, and for all its virtues, Iron & Wine is lousy workout music.) It's perfect for laying around almost anywhere though.
If you aren't familiar with Iron & Wine, it's essentially the stage name for Sam Beam. Creek is his first full-length album. It's a laid-back semi-Southern album, utilizing a number of secondary instruments (banjo, slide guitar, etc.) but all based around a man with a serious beard and a guitar. It's hard to listen to this and not think of Sam Beam as something of a hippie Nick Drake, if that gives you any idea as to what to expect. This is the album I like to listen to on Friday afternoons when there's nobody else around and I can do what I want at work. It's very laid-back with reserved vocals, perfect for relaxing or just maintaining a good mood. I can't ever imagine Beam going electric, not in the sense that Dylan went electric, but that's okay. I endorse this album fully, even if you'll never find any of these songs on my MP3 player (mostly because it is almost exclusively used at the gym, and for all its virtues, Iron & Wine is lousy workout music.) It's perfect for laying around almost anywhere though.
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