Music

Shearwater: Animal Joy

2010’s The Golden Archipelago concluded a gorgeous trilogy, but Animal Joy presents a leaner, rougher Shearwater.


Shearwater

Animal Joy

Label: Sub Pop
US Release Date: 2012-02-14
UK Release Date: 2012-02-27
Artist website
Amazon
iTunes

Just over a year ago, on January 15, 2011, Shearwater took to the stage at Austin’s Central Presbyterian Church and performed its “Island Arc” albums -- a loose trilogy including Palo Santo (2006), Rook (2008), and The Golden Archipelago (2010) -- in their sweeping entirety. When I interviewed Jonathan Meiburg last month, he was still reeling from the experience.

“It felt like a validation of those records,” the singer told me proudly. “But it also felt like we’d reached the end of it. By the time we played the last note of the last time, I thought, ‘OK, from now on, it has to be different from this.’”

It’s not a farewell concert, promised the show’s promotion. “It’s a way for us to look back and to clear the way for what’s next -- which we expect will be quite different.” Animal Joy, the band’s first outing since that marathon (and first for Sub Pop), makes good on Meiburg’s promise. Stripping away layers of orchestration and drama, the record exposes a muscular guitar- and drum-based simplicity lurking underneath, to mostly successful, albeit far more understated results.

Rook and Archipelago drew on an impossibly rich tapestry of instrumentation -- organ, dulcimer, woodwinds, harp, hammer, and a metal box are just a start. By contrast, Animal Joy feels invigorated by its sparseness. There are guest appearances by members of Wye Oak and Okkervil River (Meiburg left the group in 2008 to focus on Shearwater full-time), but the record draws mostly on a basic lineup of Meiburg, Kim Burke (bass), and Thor Harris (drums). Here, that core is usually enough, reflecting the band’s budding interest in overt rock flourishes.

Lead single “Breaking the Yearlings” boasts the results most bracingly, all booming percussion, swirling organ flourishes, and a guitar riff as gleefully primitive as it is rousing. “I take one breath and spiral down,” Meiburg cries over what may well be the band’s most stirring rock song to date. “I wanted a grittiness and an earthiness to it,” explained the singer of the recording process. It worked, even if his emotive soprano is all that’s really recognizable in the final product.

Only the punkish “Immaculate” emulates the same guitar-driven abandon, with far blander results. At just over two minutes, the track calls to mind “Century Eyes”, but gets mired down in unexciting guitar work and a plodding, simplistic melody that never endows its lyrics with the emotional weight they deserve. Much better are straightforward mid-tempo numbers like “Dread Sovereign” and “Pushing the River”. The former builds from an achingly simple chord pattern into a chorus of layered backing vocals and well-timed power chords; the latter fades out on a stirring drone of feedback wails and propulsive, almost New Wavey drumming.

Animal Joy falters where it mistakes crude simplicity for reinvention (“Immaculate”, “Believing Makes Easy”). It isn’t always the instrumentation that’s so altered -- it’s also the song structures, the sturdier track lengths, the muted climaxes. There’s nothing as multilayered or eerie as “Home Life”, nothing as oddly textured as “South Col” or epic as “On the Death of the Waters”. Like “Breaking the Yearlings”, most tracks here follow stubbornly conventional structures and back-to-basics instrumental choices.

Yet some of the finest moments still contain hints of that richness and compositional complexity. “Run the Banner Down” offers a welcome textural respite, layering acoustic plucking and snareless drum patterns beneath one of Meiburg’s most welcoming vocal melodies. “Indolence”, meanwhile, is unquestionably the album’s most haunting piece. Comparisons to Laughing Stock-era Talk Talk abound in Shearwater reviews for good reason. With its distant snare hits, patient build-up, and fierce, electrifying guitar howls, this one feels like a worthy cousin to “After the Flood”. “Joy is real!” Meiburg wails at the song’s climax. “It’s so real.” It’s a thrilling catharsis, masterfully employing the dynamic range much of this album sacrifices. It’s also a telling message: that to move on from its fantastic “Island Arc” trilogy, the band need not move on from its most obvious compositional strengths.

6

To be a migrant worker in America is to relearn the basic skills of living. Imagine doing that in your 60s and 70s, when you thought you'd be retired.


Nomadland: Surviving America in the Twenty-First Century

Publisher: W. W. Norton
Author: Jessica Bruder
Publication date: 2017-09
Amazon

There's been much hand-wringing over the state of the American economy in recent years. After the 2008 financial crisis upended middle-class families, we now live with regular media reports of recovery and growth -- as well as rising inequality and decreased social mobility. We ponder what kind of future we're creating for our children, while generally failing to consider who has already fallen between the gaps.

Keep reading... Show less
7

Very few of their peers surpass Eurythmics in terms of artistic vision, musicianship, songwriting, and creative audacity. This is the history of the seminal new wave group

The Rock and Roll Hall of Fame nominating committee's yearly announcement of the latest batch of potential inductees always generates the same reaction: a combination of sputtering outrage by fans of those deserving artists who've been shunned, and jubilation by fans of those who made the cut. The annual debate over the list of nominees is as inevitable as the announcement itself.

Keep reading... Show less

This film suggests that all violence—wars, duels, boxing, and the like—is nothing more than subterfuge for masculine insecurities and romantic adolescent notions, which in many ways come down to one and the same thing.

2001: A Space Odyssey (1968) crystalizes a rather nocturnal view of heterosexual, white masculinity that pervades much of Stanley Kubrick's films: after slithering from the primordial slime, we jockey for position in ceaseless turf wars over land, money, and women. Those wielding the largest bone/weapon claim the spoils. Despite our self-delusions about transcending our simian stirrings through our advanced technology and knowledge, we remain mired in our ancestral origins of brute force and domination—brilliantly condensed by Kubrick in one of the most famous cuts in cinematic history: a twirling bone ascends into the air only to cut to a graphic match of a space station. Ancient and modern technology collapse into a common denominator of possession, violence, and war.

Keep reading... Show less
10

Cornet specialist Ron Miles, from Denver, brings in a stupendous band for a set of gorgeous, intriguing explorations that are lyrical, free, and incisive in turns.

Ron Miles has been a brass player on the scene for about 30 years. His primary association is with the versatile jazz guitarist Bill Frisell, in whose bands Miles has been a real voice — not just the trumpet player (or, more often these days, cornetist) but someone who carefully sings the songs, if instrumentally. He has also appeared on recordings by Frisell-linked musicians such as violinist Jenny Scheinman and keyboard wiz Wayne Horvitz, always bringing that sensibility: a tart, vocal lyricism.

Keep reading... Show less
8

Here comes another Kompakt Pop Ambient collection to make life just a little more bearable.

Another (extremely rough) year has come and gone, which means that the German electronic music label Kompakt gets to roll out their annual Total and Pop Ambient compilations for us all.

Keep reading... Show less
8
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image