Few bands barely cross the line of “cool” more successfully than the old-souled Fleet Foxes. It’s risky business what they do, but what consists of six musicians fit at any moment to pour out a gorgeous four-part harmony, Fleet Foxes possible lack of “youth” feigns in comparison to the genuine richness in their voices.
Upon listening to their newest release, Helplessness Blues, I couldn’t fight the notion that there was sparsely the catchy riffs and choruses present in the first album. Every song came and went pleasantly, but not with the same urgency as Fleet Foxes. It wasn’t until I focused through a lyrical lens did I understand why there was a sense of holding back. It’s in the questioning of lost love, of wasted days, and numbing middle age that Helplessness Blues proves itself a fantastic record.
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“If to borrow is to take and not return, I have borrowed all my lonesome life… The borrowers debt is the only regret of my youth.”
The patient instrumentation sits organically with the lyrical content, and, in a way, such a parallel throughout an entire album is just as refreshing as a bunch of catchy songs. Of course, there are moments on the record that are far from being “patient.” The gradually energetic “The Plains/Bitter Dancer” begins like a train slowly picking up speed, but by the end engine are churning with jingling tambourines and bass-heavy incantations. The same goes with one ending track, “The Shrine/An Argument,” which includes a heavy string section and what sounds like a trumpet screaching in the backround. There’s evidence in songs like “Bedouin Dress” and “The Shrine/An Argument” that Fleet Foxes sound has evolved, placing much emphasis on a viola part or a thick string section (something done little to none on past recordings).
Then of course there is the small collection of paper-thin diddies that focus mainly on Robin Pecknold and his guitar. With a pure, longing tone, Pecknold unloads question after impossible question in the mellow “Blue Spotted Tail” which, after all is said and done, seems only to intensify his confusion: “Why is life made only for to end, why do I do all this waiting then?”
The reflective overtone throughout Helplessness Blues becomes truly neon with each repeat of the album. It’s apparent that Fleet Foxes are in a different place than before, however, the artistic integrity in which they began is far from removed. Expect different things from Helplessness Blues than what you’ve found before, but also expect a beautiful exhibit that just may be a masterpiece the longer it’s colors stew.
(Sub Pop Records, 2013 Fourth Avenue, Third Floor, Seattle, WA 98121)