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 | Hello everyone and welcome back once again to the indieheads Album of the Year 2020 Write-Up Series, the daily series where the users of indieheads talk their favorite albums of the year throughout the duration of December. Up today, we've got u/smasherx coming into the series to talk Fleet Foxes highly anticipated fourth LP, Shore. submitted by IndieheadsAOTY to indieheads [link] [comments] September 22nd, 2020 - Anti- Listen: Bandcamp Spotify Apple Music Background After self-releasing The Fleet Foxes EP in 2006, Seattle-based Fleet Foxes had a breakout year in 2008 with the release of their Sun Giant EP and self-titled debut LP. With their sprightly folk arrangements, vocal harmonies, and pastoral lyrics, both 2008 releases were met with widespread acclaim, and the band rode a momentary wave of folk-rock renaissance to great initial success. Their debut is all the more impressive knowing that band members Robin Pecknold and Skyler Skjelset were just 21 during its recording. The raw talent and maturity on display in songs like “White Winter Hymnal”, “Blue Ridge Mountains”, and “Mykonos” remains staggering. And though Robin, the band’s singer and songwriter, later described his lyrics as “pure RPG fantasy”, admitting to not having much experience to draw on, Fleet Foxes and Sun Giant have surely gained a great deal of lasting power from the timelessness of their stories and sound. If Fleet Foxes’ first LP succeeded with an ageless appeal, their 2011 follow-up, Helplessness Blues, reckoned with the anxieties of a very particular age. Opening with an act of self-interrogation (“So now I am oldeThan my mother and fatheWhen they had their daughteNow what does that say about me?”) Helplessness Blues was more anxious and inward-looking while retaining all the melodic grace of its predecessor. Among the classic folk-rock pastiches are bold experiments like “The Shrine / An Argument” and “Grown Ocean”, as well as the title track, an introspective folk epic that still serves as a kind of mission statement song for the band. With its warm production and evocative, self-searching lyrics, Helplessness Blues may be the fan favourite album, at least around these parts. After a 5-year break from recording and touring, Fleet Foxes returned in 2017 with their third LP, Crack-Up, an album that punched up the band’s sound by introducing more complex song structures and rhythms, abrupt loud/quiet shifts, and new musical textures including just a hint of synth. The songs are bigger and more adventurous than ever, with the album functioning more like a series of suites than individual singles – despite its 11 tracks, there are just three actual gaps between songs. At 55 minutes, Crack-Up just keeps giving, and its back half in particular, “Mearcstapa” through “Crack-Up”, is an incredible sequence of ambitious, orchestral prog-folk. If the dense and dark album proved to be somewhat impenetrable lyrically (at least partly by design), what it clearly revealed was a future of exciting possibilities for the band. Unshackled from the expectations of representing the indie folk movement, Fleet Foxes were free to follow their inspirations wherever they should lead. And so, as the Crack-Up tour wound down in mid-2018, work on a new set of songs commenced. Robin seemed to have a clear concept in mind for a fourth album pretty early on, hinting through Instagram and Reddit posts that LP4 would be a kind of yin-yang companion to Crack-Up, acting as a sun to Crack-Up’s moody clouds. For a while, “Gioia” (Italian for “joy”) was the working title of the album. Demo snippets began appearing on Robin’s generous Instagram (@robinpecknold) in late 2018, with early versions of “Can I Believe You”, “Sunblind”, and “I’m Not My Season” among the samples heard. Things seemed to be progressing well throughout 2019 as fans were baited with Instagram Live sessions and glimpses of the band and other contributing musicians in the studio. Then in early 2020, the emerging COVID-19 pandemic came along, and, well… you know what happened there. Witness to untold tragedy and chaos from his Manhattan apartment during lockdown, Robin would begin to doubt the value of his music and considered scrapping the project entirely. How do you make happy-sounding music in such a miserable time? But in late spring and early summer, he would find a way to re-contextualize the project in light of current world events, and a burst of inspiration resulted in a new set of lyrics and a drive to finish the album and put it out as quickly as possible. Mostly recording on his own with engineer Beatriz Artola (his bandmates not present due to COVID restrictions), Robin finished work on the album in September and began prepping for an immediate release. That Robin was able to finish Shore over the summer and surprise-release it during a brief window of sunshine on September 22nd, 2020, speaks to the purpose of the project from its very conception: to tell the story of perseverance, relief, and joy through dark and difficult times. Review by smasherx September 22, 2020 My alarm sounded at 7:15 AM, same as always, but instead of stumbling into my home office to catch up on emails, I settled into the corner nook of my sectional couch, Bluetooth earbuds in, YouTube cued up on the TV. In just a few minutes, Fleet Foxes would be premiering their new album, Shore, alongside a 16 mm companion film. Already there were over 4,000 viewers in the livestream, flooding the chat with exclamations of excitement, greetings from around the world, and demands, from a contingent of Brazilians, for the band to come to Brazil. A tall order for this year, but maybe next? I’d called in sick to work that morning, a decision that felt better with every second that ticked away on the livestream countdown. After six months of non-stop, post-pandemic work from home, I was ragged and exhausted, my job now fully blurred with what I used to call home life. The release of a new album from one of my favourite bands was as good a reason as any to push the needle over the line, to stop and take a breath for one day. 7:31 AM (Mountain Daylight Time) The autumnal equinox arrived with the crashing of waves. The opening shot of Shore is a rain-soaked, overcast beach, like the morning after an overnight storm. After a minute, the sound of the rolling surf gives way to a few melodic guitar strums, and then a voice: not Robin Pecknold’s, but a young woman’s, buoyed by a gentle layering of horns just below the surface: Summer all overBlame it on timingWeakening August water The singer is Uwade Akhere, who Robin discovered on Instagram (@uwade.music) after she posted a cover of his song “Mykonos”. Having followed Shore’s development, I knew the opening track would feature this guest vocalist, and truly, the easy charm she lends the song is a gift. What really took me by surprise the first time through “Wading in Waist-High Water” is what happens next, as the second verse arrives with a burst of emphatic pianos, percussion, and bass, not to mention a children’s choir. It’s in this moment that Foxes’ bright and ebullient fourth album announces itself… S H O R E Halfway through “Sunblind”, I sent a text to my friend, who I knew was listening 3,500 km away on the other side of Canada. “This song is about swimming!” I said. My friend and I had plans to meet for a camping trip in the States earlier that summer, plans that obviously didn’t happen, and swimming is a special activity for our group of friends. “Ya the first two are very swim-centric. I’m lovin it!” she replied. The tribute to musicians in this song was lost on me in that first listen. I just loved that it was about swimming. Next, “Can I Believe You”. I’d heard the previews on Robin’s Instagram, and knew it was going to slap, but the final version stunned me. There I was, first thing in the morning, absolutely jamming out to Robin’s “headbanger about trust issues”. Shore was off to an unbelievable start. Meanwhile, in the livestream chat, people seemed to be feeling much the same as I was. A lot of listeners confessed to be crying, and though there was certainly a lot to cry about in September 2020, I have no doubt they were joyful tears, brought about by the revelation of great beauty in a vulnerable moment. Though music rarely hits me that way, I felt a lot of strong emotions as Shore unveiled itself, namely excitement and awe at the splendour of the music, and incredulous relief that I’d have a day off work. For the rest of Shore’s premiere, I mostly stayed off my phone and focussed on the music and film, but when Tim Bernades’ verse began in “Going-to-the-Sun Road”, I wasn’t sure what language I was hearing. I opened the YouTube chat and read several messages exclaiming: “Portuguese! Portuguese!”. The “Come to Brazil” contingency was going nuts. Incredibly, Robin had delivered on that most unlikely of demands. By the time Shore reached its denouement title track, the totality of the piece began to sink in. After that first listen, I had the feeling Shore was a very strong album from front to back, as remarkably consistent as Crack-Up despite the extended length they both share. Prior to Shore’s release, 15 tracks and 55 minutes seemed impossibly generous, but here we were again. The film, by the way, is worth watching. A “road movie” shot on 16 mm, it expresses Fleet Foxes’ most central theme: people in nature. While Fleet Foxes is well-known for its bucolic imagery, its Blue Ridge Mountains and whatnot, not usually as obvious is the person at the center of it, undergoing an experience. What Shore, the film, makes especially clear to me is that there is no real need to distinguish between the two. Take the film’s opening shot, for example, of the rain-soaked beach: Just as “Wading” begins to play, a young man appears at the bottom of the frame, and he walks, hands-in-pockets, all the way up to the ocean’s crashing surf. Shore is full of such images that imply the intertwined duality of our internal and external: a girl walking confidently down a sunlit sidewalk, a man falling asleep in the tranquil woods. We belong in nature, just as it belongs in us. 9:00 AM Later that morning, I listened to Shore again, this time paying closer attention to its lyrics, credits, and key sonic elements, all while attempting to pre-order the new Xbox from six different stores online. The first take I had is that, despite its poppy opening numbers, Shore is not so different from the other Fleet Foxes albums, specifically Crack-Up. To me, Shore sounds like the joyous second half of “On Another Ocean” stretched to nearly an hour, by which I mean Shore’s key sonic connection to Crack-Up is its use of horns. Supplied once again by the Westerlies, these subtle yet impactful arrangements may come to be the defining feature of the Crack-Up/Shore twinship, depending on where Fleet Foxes go from here. (I hope they stick with them.) Speaking of key contributors, Robin brought in a team of ringers to play drums this time around: Homer Steinweiss, Joshua Jaeger, and Christopher Bear, the latter well-known for his playing in Grizzly Bear. Bear may be the best drummer in the world for this kind of music, and his work especially shines on Shore’s climactic track, “Cradling Mother, Cradling Woman”, which also features Grizzly Bear guitarist Daniel Rossen. Awade Akhere, Meara O’Reilly and Tim Bernades are three other contributors I would highlight, each adding unexpected vocal twists to their songs. The impact of all of Shore’s contributors cannot be understated: by bringing their own expertise to very specific moments, they help elevate the songs to incredible heights. There were also some notable absences in the album credits, and during release day, I saw a number of questions posed to Robin about the whereabouts of bandmates Skyler Skjelset, Morgan Henderson, Christian Largo, and Casey Wescott. Due to COVID-19 restrictions, they were not able to participate in Shore’s recording, which is unfortunate, but they will be involved in writing and recording new songs for an expanded version of Shore due next year. Meanwhile, I think I can understand Robin’s drive to finish the album and put it out when he did: in this isolating, soul-crushing year, just getting our work done means a hell of a lot. 10:31 AM For the dedicated Fleet Foxes fan, September 22nd provided not only a new album, but a few opportunities to interact with its creator, Robin Pecknold. One of these was a live artist commentary scheduled for 10:31 AM on YouTube, during the fourth showing of the Shore film as it streamed on repeat that day. Robin is notoriously generous with the Fleet Foxes fanbase, always keeping us in the loop with snippets of new songs, answering questions, reposting covers, tattoos, memes, etc. The time he makes for his fans has resulted in the formation of a vibrant online community that congregates in places like Instagram, Reddit, and Discord, and I believe this community is really important for Robin. In the case of Shore, he took the incredible step of featuring fan-submitted vocals on “Can I Believe You”, the background chorus consisting of some 500 submissions solicited via Instagram last summer. Robin has offered up a fan-artist dynamic as one interpretation of the song’s lyrics: “Can I believe you when you say I’m good?” he sings, as the chorus harmonically supports him. When an artist opens themselves up to fan interaction, there is always the risk of being totally inundated by the response, and that may have been the case with the YouTube commentary. Robin appeared in the chat at the appointed hour, but things very quickly went off the rails. Admittedly overwhelmed by the frenzy of questions, reactions, and troll posts in the chat, Robin did his best to share some commentary about Shore, but was M.I.A. for several long stretches. On a hunch, I opened up the Fleet Foxes Discord and there was Robin, seeking comfort among friends in the main discussion space. “YouTube terrifies,” he’d written. For Robin, having worked tirelessly on the project throughout the pandemic summer, releasing it without even a month off to catch his breath, September 22 must have been like a sudden reckoning. Normally, an artist on release day would have the benefit of being around friends, family, and bandmates during this huge life event. I’m pretty sure Robin spent much of the day by himself in his NYC apartment, alone but for the thousands of voices sending their every thought in his direction. While the YouTube session provided some insight about Shore’s creative process, it was all the more interesting for its glimpse into Robin’s singular experience that day. 5:00 PM A true listening party happened later in the day over on the Fleet Foxes Discord. First, a disclaimer: I don’t claim to speak for the Discord, let alone understand it. Indeed, as of this writing, I no longer have access, evidently kicked out for my own lack of activity. But I can say, to anyone who cares, that I was there when the community reached its feverish climax, in the days leading up to and including Shore’s release. In the great, tightening spiral of Fleet Foxes fandom, the Discord is the centre point, the ostensible origin for a great deal of inside jokes about Birkenstocks, inflatable alligators, and Minions. I’d resisted joining for a while—it was all a little confounding for a relative casual like me. However, at one point in early September, rumours circulated on the Fleet Foxes subreddit of a listening party for the new album taking place on the Discord later that week. This was a week or two before the album was announced, before most anyone had a notion that it even existed in finished form. Not wanting to miss out, I immediately downloaded the app and joined the server. Lurking on the Fleet Foxes Discord just before Shore’s release, it became apparent that a sort of culture, complete with its own nomenclature had developed. There was talk of the “Sooners” – a small group of fans with whom Robin had shared the album as early as late August. The Sooners had taken on a mythical status, hated for their privilege but exalted nonetheless. If nothing else, it was the first indication to me that a finished album definitely existed. Of course, a big draw of the Discord is that Robin himself is a member and semi-active participant, and he played his own part in teasing the new album’s release. In mid-September, he shared an mp3 file which was touted as a leak of LP4’s first single. It turned out to be “His Name Is Dad”, a joke song for Robin’s dad’s birthday, with vocals by Robin recorded over a Pat Metheny Group instrumental. Despite my initial disappointment, the track is actually impressive for its lyrical and vocal dexterity, and worth a listen. “This was two days of prime Shore studio time,” Robin would later confess. As for the rumoured Discord listening party, despite hints of it being a pre-release preview, it didn’t end up happening until September 22nd, but it still felt like a privilege to have access when I found out the Discord had been temporarily closed to new members during the frenzy of Shore’s release day. At the scheduled hour of 5:00 PM, we all gathered into the listening party chatroom with Robin, and after a few false starts, synced up our playback of the Shore film. I think we were all expecting a measured and thoughtful live commentary on the recording process, but what followed was something else entirely: “Who’s that singing???? Not RP wtf,” typed Robin as the album’s first song began. “What’s going on here what kind of ride are we in for.” Despite the “no shitposting” rule imposed by the moderators, Robin spammed the chat every 5 seconds with his feigned confusion and all-caps impressions about what he was hearing, and we were all here for it. All the while, he was slyly providing actual information about his creative process. For example, a few songs in, during the fade-out of “Featherweight”, he asked the chat rhetorically: “What happens next? We’ve already had a sunshine pop, a headbang, a stomp, and a floater.” Cue: “A Long Way Past the Past”. A STRUTIT’S A STRUT80 BPM STRUT And so it went for 60 minutes: Robin reacting to Shore as if he were hearing it for the first time, but somehow full of insight about its recording and construction. I don’t know how he kept this up, but he did, and it was hilarious. This time, it was the fans who had to try and keep pace. “PERFECT,” said Robin and everyone else in the chat at the start of “Young Man’s Game”. The album was only out for 10 hours, and already it felt like a live screening of The Room, with everyone shouting the classic lines in unison. Later, as “Quiet Air” transitioned into “Gioia”, Robin dropped a bombshell on everyone: “CHOCOLATE RAIN,” he exclaimed as the discordant-sounding, dancing piano line kicked in. “TAY ZONDAY FEATURE.” It may be a joke, but just try unhearing that. Before too long, it was over. The listening party, like the album itself, flew by in what seemed like far less than an hour. Robin thanked us for coming out and informed us he had to go join a family Zoom call —a sweet thought, but a statement that wouldn’t make sense to most people just one year ago. “This is the greatest fan interaction of music history,” wrote one participant during the Discord listening party, and it’s hard to disagree. It may seem trivial, but it’s clear Robin recognizes the importance of communal artistic experiences, and in the absence of live concerts, has leveraged any and all tools available to make them happen. In the weeks following Shore’s release, the band arranged for several drive-in movie screenings of the Shore film across America, and in one week’s time, on December 21st, Robin will perform a live set online, A Very Lonely Solstice Livestream. Despite the solo nature of the performance, he will once again bring a community of people together into a kind of shared, collective experience. In this year of isolation, it’s this kind of togetherness which has been so sorely missed. 8:30 PM At the end of the day, I decided to go for a walk. Since the spring lockdown, these strolls and jogs through the neighbourhood have been some of my only exposure to nature. I pressed play on Shore as I stepped outside, and from the first guitar strums of “Wading in Waist-High Water”, it felt different. Although it was my fifth listen of the day, it was the first one outdoors, where the music of Fleet Foxes has always gained intrinsic power. Under the impossibly huge sky of the Canadian prairie, the rising quarter moon overhead, the sounds of Shore carried new and tremendous weight. Shore is a joyful, hopeful record to be sure, but it doesn’t take the easy road there. It’s not just a cheap trick with upbeat melodies and happy lyrics. Relief from adversity is its theme, and Shore has its share of adverse moments. “I’m losing my fight,” sings Robin in “Going-to-the-Sun Road”, in what could be the album’s most heartrending and relatable lyric. “Quiet Air” can also be an uncomfortable listen, sounding like an ominous reminder of the impending climate crises. But what happens next is crucial. With Tay Zonday’s help, “Quiet Air” transforms into “Gioia”, a pure celebration of life that dispels all that fear and anxiety with its pagan ritual dance: “I never wanna die, I never wanna die,” repeats Robin over and over, and we want to be right there with him. That Shore arrives at this place of peace after battling through its darkness it what makes it such a powerful album for so many of us, I’m sure—but then again, back on that first day, we were all just feeling our way through it. What I felt that night, listening to “Sunblind” as I walked down the long, empty bike path that cuts through my neighbourhood, is something I hadn’t expected. Each kick-drum in the pre-chorus hit like a hammer strike on my defences, and in the end, I couldn’t help but lean into it. When that beautiful, transcendent chorus hit, I reached for its light and cried, and cried, and cried. Favorite Lyrics I'm gonna swim for a week in
And I need you with me
Sunday end
Now the quarter moon is out
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