William Fitzsimmons: The Sparrow and the Crow

It may be populated by broken things, broken feeling, and broken people, but as an album it is stubbornly, and smartly, unwilling to show its own cracks.

William Fitzsimmons

The Sparrow and the Crow

Label: Mercer Street
US Release Date: 2009-04-07
UK Release Date: Available as import

Since form tends to follow content, it's no surprise that break-up albums tend to sound, well, pretty broken. And there's an appeal in that for listeners, since most of us have been in that vulnerable moment and, if we're honest, take comfort in not only the commiseration, but also in the chance to milk that feeling for all its worth. The fact that a brittle and frail album like Bon Iver's For Emma, Forever Ago caught on is no real surprise.

But what about break-up albums that don't sound cracked and broken? Sure, the acerbic lyrics are unsettling on Blood on the Tracks, but isn't the smooth, built-up folk Dylan lays those words on a little too clear-eyed? Isn't the tight, sharp sound of the record as unnerving as Dylan's barking on "Idiot Wind"? The full-sounding break-up record certainly works against expectations, and that someone would strive to make hurt sound so complete and so beautiful can set you on edge in unexpected ways.

And that is what William Fitzsimmons does with The Sparrow and the Crow. No, it doesn't match up with Blood on the Tracks, but it has its own thorny ambitions. Fitzsimmons has a lush folk sound that swells throughout this album, expanding as he sings about post-divorce carnage. But as whispery and faint as his voice can be, he rarely falls into the easy trap of fragile folk to lead us to the hurt. Instead, there's the lush piano balladry of "After Afterall", or the pastoral shuffle of "They'll Never Take the Good Years". "If You Would Come Back Home" and "Further from You" are brooding folk-rock thumpers, while "Find Me to Forgive" is heavily orchestrated piano-pop.

All these sounds are subtle shifts in Fitzsimmons's basic but fully realized folk sound. He does sometimes take things down to just piano, as on "Even Now", or the simple keys and guitar interplay of "We Feel Alone". But these songs never crack or split or show their seams no matter how quiet they get. There are no holes between the notes, no crackle in his voice. Even when Fitzsimmons sounds most beaten ("You Still Hurt Me"), he's trying to make it sound as beautiful as possible.

And that unnerving attention to detail musically lays a foundation for Fitzsimmons to wander through just about every emotion you'd associate with a big break-up. On "After Afterall" alone, he runs through earnest loss ("I still love you") to lust ("I still want you") and then to desperation ("I still need you"). He confesses his role in the break-up on "I Don't Feel It Anymore (Song of the Sparrow)", only to later act irreparably wounded on "You Still Hurt Me". He spends parts of the album begging forgiveness, or hoping for a reconciliation, while in other spots he sounds tired and resigned to the relationship's failure and solitude.

And his exploration of these contradictions isn't all navel-gazing. Priscilla Ahn sings with him on a few tracks, most notably on the beautiful "I Don't Feel It Anymore (Song of the Sparrow)", and is a solid foil for Fitzsimmons, equal parts wincing pain and clear-eyed resolution. They both sound like they're earnestly reaching out, but there's a wall up between them, as if in the end they can only manage to sing at each other instead of with, or even to each other.

And the way Fitzsimmons tangles these contradictions and unfinished feelings together is what makes this not just a good break-up album, but his good break-up album. Its commitment to a lush, full sound is both what makes the album effortlessly beautiful, and subtly chilling. Because a crisis that hurt you so deeply shouldn't be rendered this completely into song. The Sparrow and the Crow may be populated by broken things, broken feeling, and broken people, but as an album it is stubbornly, and smartly, unwilling to show its own cracks.


Cover down, pray through: Bob Dylan's underrated, misunderstood "gospel years" are meticulously examined in this welcome new installment of his Bootleg series.

"How long can I listen to the lies of prejudice?
How long can I stay drunk on fear out in the wilderness?"
-- Bob Dylan, "When He Returns," 1979

Bob Dylan's career has been full of unpredictable left turns that have left fans confused, enthralled, enraged – sometimes all at once. At the 1965 Newport Folk Festival – accompanied by a pickup band featuring Mike Bloomfield and Al Kooper – he performed his first electric set, upsetting his folk base. His 1970 album Self Portrait is full of jazzy crooning and head-scratching covers. In 1978, his self-directed, four-hour film Renaldo and Clara was released, combining concert footage with surreal, often tedious dramatic scenes. Dylan seemed to thrive on testing the patience of his fans.

Keep reading... Show less

Inane Political Discourse, or, Alan Partridge's Parody Politics

Publicity photo of Steve Coogan courtesy of Sky Consumer Comms

That the political class now finds itself relegated to accidental Alan Partridge territory along the with rest of the twits and twats that comprise English popular culture is meaningful, to say the least.

"I evolve, I don't…revolve."
-- Alan Partridge

Alan Partridge began as a gleeful media parody in the early '90s but thanks to Brexit he has evolved into a political one. In print and online, the hopelessly awkward radio DJ from Norwich, England, is used as an emblem for incompetent leadership and code word for inane political discourse.

Keep reading... Show less

The show is called Crazy Ex-Girlfriend largely because it spends time dismantling the structure that finds it easier to write women off as "crazy" than to offer them help or understanding.

In the latest episode of Crazy Ex-Girlfriend, the CW networks' highly acclaimed musical drama, the shows protagonist, Rebecca Bunch (Rachel Bloom), is at an all time low. Within the course of five episodes she has been left at the altar, cruelly lashed out at her friends, abandoned a promising new relationship, walked out of her job, had her murky mental health history exposed, slept with her ex boyfriend's ill father, and been forced to retreat to her notoriously prickly mother's (Tovah Feldshuh) uncaring guardianship. It's to the show's credit that none of this feels remotely ridiculous or emotionally manipulative.

Keep reading... Show less

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

Winner of the 2017 Ameripolitan Music Award for Best Rockabilly Female stakes her claim with her band on accomplished new set.

Lara Hope & The Ark-Tones

Love You To Life

Label: Self-released
Release Date: 2017-08-11

Lara Hope and her band of roots rockin' country and rockabilly rabble rousers in the Ark-Tones have been the not so best kept secret of the Hudson Valley, New York music scene for awhile now.

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

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