Fleet Foxes

[Josh]

Seattle’s Fleet Foxes were all the rage on indie rock blogs long before their debut EP, Sun Giant, and subsequent full-length ever saw the light of day, and it’s not hard to see why—in many ways, the five-piece band deals in some of the most fashionable of indie rock trends circa 2008, carrying them to the logical conclusion that other bands have just hinted at—but, very much to the band’s credit, they never give the impression that they’re aping popular indie trends; they’re far too busy aping older, better bands from the Woodstock era to care much about what’s going on in Pitchfork-land.

Very much of a piece with the Sun Giant set, the self-titled debut is a meandering, seamless tapestry of taut vocal harmonies and organic instrumental passages—and though it captures the spirit of folk music better than almost anything else in 2008, there are dynamic shifts offered by the subtle shading of gospel, country, and rock music. It’s music without borders, which is, of course, what makes it essentially folk, and essentially Americana. Sure, there are clear debts owed to the Byrds, The Band, the Zombies, Joni Mitchell, Fairpoint Convention, even the Beach Boys, but Fleet Foxes plunge headlong into this lofty tradition of American music with such sheer joy for music-making that it feels more like a celebration than an homage.

The album sounds great, which is crucial—one is almost tempted to say that the band emphasizes sound over song, which doesn’t mean that it isn’t hooky or memorable; just that the music is so free-flowing, the songs ebb and flow into one another with little regard for traditional verse-chorus structures, that one doesn’t remember whole songs so much as little snatches of wordless harmony, hypnotic instrumental passages, stray melodies or the textures of different instruments. The songs are all very much of a piece, to the extent that individual tracks may seem underwhelming, but that’s not how the album is meant to be heard; it’s a tapestry of sounds and ideas, an evocative and mood-altering piece of music that needs to be swallowed whole.

The human voice is obviously important to music like this—mountain music, church music, folk music—and to be sure, Robin Pecknold and his bandmates harmonize with striking beauty, and indeed, the album is so rich with harmonies that they almost start to grow tiresome by its end. But words are important too, and Pecknold’s songs—impressionistic rather than strictly narrative—sound a bit like he’s slept through the past hundred years or so of human development. There’s nothing about technology or modern culture at all; this is rustic through and through. Rain and snow fall, birds sing, squirrels scuttle about, and Pecknold considers some rather delicious-sounding summer strawberries. (The album’s original working title—Ragged Wood—gives a pretty good indication as to the kinds of images and motifs that these songs deal with.)

It’s as focused on simple beauty as just about anything else in indie rock, which is perhaps why it stands out—it just so happens to play into some of the trends made popular by Animal Collective and Devendra Barnhart, but the sincerity and authenticity of this music makes it clear that any trendiness is sheer coincidence. Of course, since the album is so focused on flashes of striking beauty, it’s a very warm and inviting recording, but also one that sometimes meanders a bit too much to be truly gripping. Thus, some of the most compelling moments come when Pecknold injects a bit of subversive darkness into his lyrics—“tell me any lie you want/ any old lie will do,” he sings in one song, a sufficiently sinister line that makes one hope the band will branch out (pun intended) from their nature imagery for some meatier, more complex folk lyrics on future outings. But regardless of where they do from here, Fleet Foxes is an unquestionably rich and engrossing album, steeped in long-standing traditions but with a vision all of its own, and with enough moments of sheer, giddy joy to overcome any minor flaws and make this band a most welcome addition to 2008’s indie rock roster.

[Ian]

Fleet Foxes are great.  I think it'd be nice if they did a little bit more to seperate themselves from other bands of their genre, and their songs aren't as consistently good as they could be, but Ragged Wood is one of my favorite CDs of the year so far, and I think this band as a good deal of potential.

[murlough23]

We've hijacked two other threads with the Fleet Foxes discussion at this point (or did we just hijack the MMJ thread twice? I can't remember), so let me bring this discussion back to where it belongs, and point out the following:

1) I was pigheaded to not take you guys up on your recommendations of this band sooner.
2) Holy shit, I love the sound of this record.

My final rating on this album is still pending, but I think it's easily looking at a B+, if not an A.

[bloop]

Well, the bands share a little in common, I think.  Two different approaches, but I think of them as having some affinity with each other.

[Josh]

I think just about EVERYONE likes the *sound* of the record-- but does anyone actually like the *songs*?

That's an unfair and somewhat irrelevant question, of course-- this band is obviously all about sound, less about song, and that's not necessarily a bad thing. This record is more a tapestry of sound than a collection of songs. As such, I find that there are patches of it that sound a little samey to me, but it's a minor complaint overall.

[murlough23]

Well, the bands share a little in common, I think.  Two different approaches, but I think of them as having some affinity with each other.

A blog I was reading somewhere described Fleet Foxes as "My Morning Jacket singing madrigals". I can see the comparisons vocally, and also in how both bands made a record that feels like it could have been made in the 70's. But MMJ's got nothing on the Foxes' vocal harmonies.

NP: "Quiet Houses", Fleet Foxes

[bloop]

I think just about EVERYONE likes the *sound* of the record-- but does anyone actually like the *songs*?

It's a fair enough question.  Every time I put in the album, I'm loving the sound and production of it so much that the other elements kind of fall by the wayside.  Even if I try to, I just can't listen to this album with a song-oriented frame of mind as it'll immediately go to what I like most about it.  Maybe it's something about singing about red squirrels at the very beginning of your album that will have me listening in other directions.   

I agree with you about the harmonies, murlough - part of the reason I thought this album would do more for you.

[murlough23]

I think just about EVERYONE likes the *sound* of the record-- but does anyone actually like the *songs*?

I do. my problem is narrowing it down to one or two favorites, because the entire record feels so consistently full of memorable songs. Can I sum one up for you, analyze its lyrics, and tell you why its meaning moves me? Not after only three times through the record, but that's commonly the case with bands that have more "impressionistic" lyrics. I may be in love with the songs, but have a harder time telling you why, other than simply, "Wow, that's a beautiful performance". But it's not like the individual songs can just be easily dismissed as if this band were putting style far above substance. It takes a good amount of songcraft to write the kind of lyrics that beg repeated listens for the sake of deeper understanding, rather than just sounding stupid and nonsensical (or worse, dull and cliched). I couldn't knock the band for this unless I wanted to knock Iron & Wine and several of my other favorites for the same reason.

That's an unfair and somewhat irrelevant question, of course-- this band is obviously all about sound, less about song, and that's not necessarily a bad thing. This record is more a tapestry of sound than a collection of songs. As such, I find that there are patches of it that sound a little samey to me, but it's a minor complaint overall.

I'm finding enough melodic and rhythmic variance that I think I'll find almost every track standing out to me for something different once I've mapped out the album in my mind a little better. Even if the songs are all "of a piece", I think that's what keeps me captivated - the sound of the first few tracks just blows me away and I'm thinking, "Wow, no way they can keep this up, they're bound to back off and start sounding more ordinary as they get further in and run out of ideas", but then that never happens.

NP: "Heard Them Stirring", Fleet Foxes

[Josh]

I should note that, despite my misgivings about the actual songs, I WILL say that my favorite cut on the album-- one of my favorite songs of the year, really-- is "White Winter Hymnal," which is in itself worth the cost of the album.

[murlough23]

I should note that, despite my misgivings about the actual songs, I WILL say that my favorite cut on the album-- one of my favorite songs of the year, really-- is "White Winter Hymnal," which is in itself worth the cost of the album.

Agreed, that one's gorgeous.

I think your point about the individual songs is well-taken. My rule that determines how much I like an album might just be a bit simpler: Do I love listening to it all the way through? That's a hard feat to pull off in and of itself, so if a band manages an album full of strong tracks, they'll likely get an A or at least a B+ from me. I'm pretty sensitive when it comes to repetition, so I'm not likely to give a good grade to a band who just does the same thing 11 times in a row. But I think there's stylistic variance, and then there's figuring out how to have a good deal of variance within the bounds of your chosen style. Too much stylistic variance can kill the continuity of an album. So that may be why I prefer albums like this, or like Deas Vail's album last year, where they essentially do variations on their same niche style throughout the album, but the sound is encapsulating and the performances consistent enough to fully transport me to the fantastic far-away place that the band's music occupies.

[Ian]

For me, the first few tracks and the last few tracks have both a good sound and are good songs, while the middle tends to be a bit more good sound only.

[Josh]

Teenage Kicks has a really nice little piece on this band.

[murlough23]

Teenage Kicks has a really nice little piece on this band.

Nice. I'm jealous. I bet their live show is pretty sweet.

I was listening to Fleet Foxes in the car yesterday, and my wife commented "that's a nice singer". So I might be able to get her hooked, too. Usually the more "indie" stuff I delve into just gets strange looks or a non-response from her.

[bloop]

My wife didn't say anything when I played the album, and I didn't ask her about it, but she thought the EP was beautiful.

[murlough23]

My wife didn't say anything when I played the album, and I didn't ask her about it, but she thought the EP was beautiful.

Sounds like you do what I do - just put something on and see if she reacts.

NP: "Around", Sixpence None the Richer

[murlough23]

Hey, maybe I'm a little slow, but I just noticed that the guitar riff from the little coda at the end of "Sun It Rises" matches the one from the second half of "Ragged Wood". Or at least, it's pretty close. I wonder if one is intended as a reprise of/prelude to the other.

[Ian]

Sounds like you do what I do - just put something on and see if she reacts.

When I get married I am going to strap her down to a chair and force her to give in depth feedback on every music I deem noteworthy.

Or marry someone who likes good music, either one.







...and for those of you who now think i'm messed up, i was kidding

[murlough23]

When I get married I am going to strap her down to a chair and force her to give in depth feedback on every music I deem noteworthy.

Or marry someone who likes good music, either one.

Option B would be more likely to facilitate a happy marriage in the long-term. Though it would also be more difficult to find.

Unless she's the type of girl that likes being strapped to things. But let's not go there.

...and for those of you who now think i'm messed up, i was kidding

What if we thought that before?

NP: "What a Wild Tune", Barenaked Ladies

[ajyouthguy]

I realize i"m a latecomer to Fleet Foxes fandom, as I mentioned in another thread, but I found out something interesting today, that two current members, and one former member, were all at one time associated with Pedro The Lion.  Interesting.

[murlough23]

I realize i"m a latecomer to Fleet Foxes fandom, as I mentioned in another thread, but I found out something interesting today, that two current members, and one former member, were all at one time associated with Pedro The Lion.  Interesting.

I never knew PTL was from Seattle, but given that they were and that it was basically a revolving-door band for David Bazan's creative energies, I guess this shouldn't be too surprising.

It definitely gives Fleet Foxes an interesting "six degrees" sort of connection to the Christian music underground, though.