|
Originally a side project led by Jonathan Meiburg and Will Sheff,
both founder members of the critically acclaimed Okkervil River,
Shearwater share their parent act’s gift for writing sensitive,
literate yet epic songs that are simultaneously tuneful and rich in
musical textures.
The two main protagonists went their separate ways in 2009, with
Meiburg retaining leadership of Shearwater, but despite this severance
of ties, interestingly both bands seem to be travelling in similar
directions. Last year’s I Am Very Far saw Okkervil opting for a more
muscular, direct style than ever before; likewise, Animal Joy signals
a change in dynamic for Shearwater following the hushed, dreamy
atmospherics of 2010’s The Golden Archipelago.
Like the long-winged seabird that inspired his band’s name,
Shearwater front man Jonathan Meiburg’s voice soars impressively above
its surroundings. A powerful yet velvety and versatile tenor sat
somewhere between Jeff Buckley and Antony Hegarty, it has
been the dominant instrument in the Austin, Texas trio’s seven albums
to date, but on Animal Joy other elements of the band’s sound are
pushed more to the fore - not always successfully.
In particular, Thor Harris’s monumental drumming is integral to
Shearwater’s approach here like never before. At times, such as on
the urgent, driving Pushing The River, Harris’s frenetic tub thumping
propels the song impressively, and some muffled tom-tom provides an
effective counterpoint to the shimmering harp of Running The Banner
Down. Elsewhere though, the often cacophonous percussion is allowed to
distract too much from the band’s more delicate charms. The industrial
beats and stark, staccato guitar riffs of Breaking The Yearlings
suffocate the song trying to break through underneath, while closing
track Star Of The Ages is forced and overwrought.
Shearwater are at their best when at their most restrained, or when
their songs are allowed to build slowly, giving the different
complementary parts space to breathe. Perhaps the best example of
this on their latest record is the opening Animal Life. Beginning
with just a simple, chiming guitar melody and Meiburg’s emotionally
charged falsetto, it gradually introduces drums, piano and swathes of
reverb as it gathers momentum towards a stirring conclusion. On other
tracks, such as Open The Houses and Believing Makes It Easy, they
effectively summon up the loose limbed ambience of Spirit Of
Eden-period Talk Talk.
Meiburg has always been a thoughtful, idiosyncratic lyricist and
Animal Joy sees him at his most personal and introspective. Open The
Houses begins with the evocative couplet “I was still life/I was
pinned inside of a photograph” as he reflects on the realisation that
time is moving on without him, and on You as You Were he compares the
sensual intimacy of physical contact to “the electric charge of a
change in the weather/you were touching my arm, you were holding a
feather.” Not quite Byron perhaps, but a cut above the average
over-earnest modern troubadour nevertheless.
Taken as a whole, Animal Joy maintains the quality of Shearwater’s
earlier outings without quite taking things to the next level they’re
eminently capable of achieving. Meiburg’s voice is a thing of rare
range and beauty, but it seems the band have yet to settle on the best
way to maximise its formidable gifts. If they were to cut down the
bombast just a little and concentrate on their gentler, subtler
qualities, then a truly great album is definitely within Shearwater’s
grasp.
Comments
|
Shearwater MP3s or CDs
Shearwater on Spotify
INTERVIEW:
