shore — Home — What’s Cool?

Seattle based folk band Fleet Foxes suddenly released their newest album Shore on September 22nd to fittingly coincide with the autumnal equinox. The release came as a welcome surprise for fans who have been patiently waiting to see what would follow the group’s 2017 album Crack-Up. The newest offering demonstrates maturity, refinement, and a blend of all of the group’s previous sounds, which in all, completely exceeded my expectations. Lead singer Robin Pecknold and company simply can’t miss.

The album’s first track opens with vocals from Uwade Akhere and sets the tone of what’s to come in the tracklisting. “Wading in Waist-High Water” is a peaceful, end-of-summer reflection which presents a calm energy and atmosphere that the rest of the project finds comfort soaking in. “Sunblind” picks up the pace with the instantly recognizable vocals from Pecknold. This track beautifully pays homage to the artists who have passed away but who continue to inspire and influence Fleet Foxes as a group. “Can I Believe You” is a vulnerable and earnest song with a catchy and simple chorus. This track’s vocal backing is largely made up of Pecknold’s Instagram followers who sent in audio clips of their singing, which I found very interesting. The record opens strongly and just doesn’t stop impressing.

“Jara” pays homage to Chilean folk singer Victor Jara while also reflecting on the beginning of the coronavirus pandemic, unpacking the injustice it has exposed. This track loops very rhythmically, continuing the faster pace for the group and different from previous albums Helplessness Blues or Crack-Up. “Featherweight” is lighter on its feet with very little drum backing and a gentle vocal refrain from Pecknold. This track focuses on the recognition of privilege, especially after being exposed to the many downfalls of society in the past year. Not only is this one of my favorite songs on the album, it’s one of my favorites in Fleet Foxes’ discography. “A Long Way Past the Past” doesn’t sound nearly as emotionally compelling as its lyrical content proves upon deeper analysis, as this track discusses living life attached to one’s past and memories. The nostalgic sound offered here adds another layer of meaning and complexity on a second listen. At this point in the tracklist, the band hasn’t missed.

And with “For A Week Or Two”, they don’t break that streak. This track reflects on becoming one with nature; escaping the hustle of urban life to once again feel a connection to the natural world. This beautiful track transitions perfectly into “Maestranza” which reflects on the communal struggle with recent events and on isolation itself. “Young Man’s Game” focuses on the naivety of childhood, specifically boyhood, with an upbeat tempo, even featuring kids singing as the track closes out. This is the first hiccup in the tracklist for me, because for some reason the lyrical content, instrumentation, and vocal delivery just don’t mesh perfectly with one another. This is redeemed by the following “I’m Not My Season”, however, which heartbreakingly and relatably reminds us that the circumstances we find ourselves in don’t and should never define us. I hear Josh Tillman’s vocal influence here, which is appropriate as he used to play drums for the group before releasing music under the name Father John Misty. This idea of us not being our experiences is so simple but so profound, and it is communicated beautifully by Pecknold.

“Quiet Air / Gioia” the the unsettling and ominous story of anticipating some great misfortune beyond one’s control. Pecknold has explained how climate change was on his mind when crafting this song, which eerily makes almost too much sense. “Going-to-the-Sun Road” is a beautiful but downtrodden recounting of wanderlust met with the acceptance of one’s eternal limitations. Just like most of the tracks on this album, this song builds gorgeously and culminates to create a perfectly painted picture for its listener.

“Thymia” is a short but wondrous track which explains the feeling of inner inspiration and compelling to one’s calling. It also transitions appropriately into the next song “Cradling Mother, Cradling Woman”, the album’s penultimate track which likens passion (music in Pecknold’s case) to a nurturing force which brings one internal sustenance. This track isn’t as sonically compelling as others on the album, but I enjoy it nonetheless. The project closes with the title track “Shore” which serves as a thematic epilogue, closing up the few loose ends the album has to offer. Once again, this song pays homage to inspirations and finds comfort in the uncertainty of what the future may have to offer - an excellent closure to a great album.

It will be fascinating to see how artists internalize the times we’re living through and how their experiences are reflected in their art. In Fleet Foxes’ case, the struggles being faced by all recently have been meditated to the point of being able to be consumed as harmonic, resonant, and relatable songs which combine the previous elements that popularized the band in the first place. While there are slight imperfections throughout, Fleet Foxes' Shore is still a must-listen and one of my favorite albums of the year so far. Thanks for reading.

Favorite tracks: “Wading in Waist-High Water”, “Sunblind”, “Can I Believe You”, “Jara”, “Featherweight”, “A Long Way Past the Past”, “For A Week Or Two”, “Maestranza”, “I’m Not My Season”, “Quiet Air / Gioia”, “Going-to-the-Sun Road”, “Thymia”, “Shore”

Score: 8/10