Fleet Foxes -- Shore: Review

Fleet Foxes -- Shore

[ANTI-]

For a while after I experience pivotal life-or-death moments, my shoulders tense up and my hairs rise just thinking back on them. For a second I relive the harsh sounds and sights of those grazes with death and it sends chills down my spine. But as time goes on my perspective changes on those events the farther I am from those moments and I appreciate what I’ve learned, most importantly: I’m happy that I survived that moment and to live today.

This same appreciation for life is what inspired singer/songwriter Robin Pecknold of Fleet Foxes for the meaning of their newest record, Shore. Pecknold almost drowned surfing in 2017, telling Exclaim! in an interview: “I got caught in a rip current and I was pretty far from the sand. I really thought I was going to drown swimming back in and had to really struggle to get back to shore. After that experience, just the relief I felt being in the sand, I was like, I thought, the next album's called Shore and it will be this relieving, joyous, glad-to-be-alive kind of vibe. That became the frame that was unchangeable, even though the music or the lyrics weren't really there yet.”

This celebration for life is what makes Shore feel like Fleet Foxes’ most celebratory album. Unlike the moody atmosphere of the band’s earlier projects like their 2008 self-titled debut and their 2011 smash hit Helplessness Blues, Shore’s attitude is much more optimistic and warmer. Along with the change in mood, the melodies are poppier with more conventional structures. Even after the experimental third record Crack-Up in 2017, they seemed to have completely turned the other direction and made arena folk rock bangers with fleshed out beats.

When I say “arena folk banger”, I mean as close to that as the Fleet Foxes sound can get without sacrificing any of their special spice. These supposed ‘bangers’ are still littered with the blend of folky Brian Wilson harmonies and abstract melodies that were always there. Shore masterfully navigates all of the band’s past styles while adding enough catchy pop appeal to make this group of tracks their stickiest release so far.

The second track “Sunblind” wholly exudes the mood and tone of this whole record from the get-go. In between its blissful and cathartic chorus, Pecknold’s feel-good lyrics chant his influences like Marvin Gaye, Jeff Buckley, Elliot Smith, and John Prine, almost as if he sees his journey as passing on the torch they gave him. “Young Man’s Game” is one of the bangers with the aforementioned drum beat and syncopated guitars that groove like no other Fleet Foxes song before. “Can I Believe You” contains this infectious vocal reminiscent of an Imagine Dragons song in the best way possible rather and that this is much better than any Imagine Dragons song could be. Also this song was one of few on this record where Pecknold asked fans on Instagram for contributions, and the layered background vocals on this song are made up of hundreds of voices.

Pecknold doesn’t stray from politics and provides some insightful commentary from his place of privilege on Shore. “Jara” is a eulogy to Victor Jara, a Chilean protest folk singer who was executed for his outspoken beliefs. “A Long Way Past The Past” charges with a roots rock vibe and is a meditation on social progress and the mirage of doom Millennials and Gen Z-ers create for themselves from the relentless stream of negativity on social media. “Featherweight” comments on Pecknold’s specific place of privilege and his envy in political engagement. This song combines some of the most powerful lyrics on the record and one of the most exciting instrumentals too with these fluttering guitars and this warm, soothing chorus.

As we reach the close, the grand “Going to the Sun Road” features these carnival horns and sputtering harpsichords under Pecknold’s angelic belts. The larger-than-life feel of this song makes it feel like a warm hug surrounding my ears and is definitely my favorite from the tracklist. Even though this is the first Fleet Foxes record with only one of the main members featured, it still feels whole. The skipping “Cradling Mother, Cradling Woman” progresses over a colorful triplet beat of diverse percussion with an abstract blend of instruments, sounding greater than the sum of its parts. Pecknold wears his influence on his sleeve here where he features a Beach Boys sample of Brian Wilson counting in the beginning of the song. The self-titled closer features vocals from the only guest lead vocalist on the album Uwade Akhere whose sweet voice is just the right tone to close out the record.

Shore is a rare album that can help remind us why we are happy to be alive. Pecknold gracefully addresses some of the stresses in each of our lives right now with a warm, soft record perfect for the approaching Autumn. Shore might not be the record we deserve right now, but its for sure the record we need.

RIYL: Beach Boys, Sufjan Stevens, Local Natives, Andrew Bird

Listen To: “Sunblind”, “Going To The Sun Road”

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