Same beard, different Beam
The king of lo-fi forays into jam band territory, Gap commercials.
Oct. 5, 2007
The title for most shocking album of 2007 does not belong to any visceral death-metal groups, anarchist punks, thug rappers or avant-garde nut jobs. It does not belong to Of Montreal, and it certainly does not belong to 50 Cent.
No, mild-mannered Sam Beam of Iron & Wine can proudly hold that title above his head for his third studio album, The Shepherd's Dog.
Why is this album so shocking? Because it is an Iron & Wine album that actually rocks.
Well, maybe I shouldn't venture that far. It would be difficult for a guy like Beam to pump his amps straight to 11 after garnering fame from his prior work of melancholy, introspective acoustic albums full of swampy poetry with vocals sung so gently they could barely startle a marsh reed. But Beam is able to successfully do what few contemporary artists can: change the aesthetics and orchestration used on his albums without changing the music's overall essence or sound.
Rather than sticking to his usual arsenal of guitar and occasional banjo, Beam has a veritable orchestra of new distorted sounds, percussion and even some distortions and Indian influences by way of George Harrison. He even takes the time to actually sing as opposed to merely whispering all the time. And he really does have a wonderful voice when he tries.
Right from the first track, "Pagan Angel and a Borrowed Car," the full transformation becomes apparent as the listener might pause with puzzlement to ponder why and how there is an oboe in an Iron & Wine song.
Beam's haunting, surreal imagery is even more resonant against rough, almost primitive percussion and the added richness of woodwinds and strings: "They caught the king beneath the borrowed car/Righteous, drunk and fumbling for the royal keys."
"White Tooth Man" is the folk freak-out and one of Beam's best songs to date. It picks up where The Beatles' "Tomorrow Never Knows" left off with wailing guitars, glimmering Indian tambouras, thumping percussion and a clear urgency in the vocals, although you are never quite sure about what.
This album marks the first time there seems to be an emphasis on production and alteration of Beam's sound. Most of the time, this actually works in his favor. The distorted vocals on "Carousel," for example, are just the right amount of creepy to complement the sparse instrumentation and cryptic anti-war commentary: "Almost home/With an olive branch and a dove/You were beating on a Persian rug."
"Wolves (Song of the Shepherd's Dog)" is Iron & Wine's take on the jam band and has an easygoing, reggae-ish feel and lots of spare guitar noodling.
When Beam does revert to his old sound, it sounds much crisper and more refined. "Resurrection Fern" is the perfect blend of old and new Iron & Wine. It is a tender love song from rural America with cleaner notes, exquisite vocals from Beam and the warmth of a slide guitar in the background for a genuine country feel.
The album's first single, "Boy With a Coin," chugs along with the help of intricate harmonies and rapid-fire handclaps.
The album peaks near the end with "The Devil Never Sleeps," Beam's Gap commercial number, and an upbeat, shake-rattle-and-roll track full of Little Richard-esque piano.
The changes and experimentation on this new album are more than welcome. The only people who will probably not enjoy this album are the ones who expect a repeat of Beam's performance on the Garden State soundtrack.
Ladies and gentlemen, we present the new Iron & Wine. And unlike Jan Brady with a 'fro, we want this reinvention around for a long time.
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