Fleet Foxes, Shore | Album Review 💿

Shore, the fourth studio album by Fleet Foxes, is a truly special, well-rounded album that features top-notch musicianship.   

Seattle indie-folk collective Fleet Foxes returned in 2017 with Crack-Up following a six-year-hiatus. Crack-Up, of course, was one of the best, as well as most complex albums in 2017.  Returning three years after its release, similar to the gap between Fleet Foxes (2008) and Helplessness Blues (2011), the band’s fourth album, Shore, feels less complex.  Sure, it’s true to the thought-provoking Robin Pecknold, but also feels more ‘down to earth.’ Like Crack-Up in 2017, Shore ranks among the best albums of 2020.

“Wading in Waist-High Water” 

The brief but beautiful “Wading in Waist-High Water” commences Shore superbly.  The record begins relatively restrained, featuring the vocals of Uwade Akhere, who reappears on a couple more songs on Shore.  The record progresses in is overall scope, growing more dynamic and energetic including the use of horns with the production.  Robin Pecknold definitely sets the tone of the album.

Pecknold takes over the vocal reins on the rhythmic ✅ “Sunblind,” a well-written (arranged and produced), four-minute-plus showcase.  Lyrically, he remembers various, late musicians who have influenced him throughout his life and career.  “If this is flat, brother, I apologize (Jimi and David, for Nick and Otis),” he sings on the second verse, remembering Jimi Hendrix, David Bowie, Nick Drake, and Otis Redding. “Sunblind” feels incredibly warm, further amplified by its major key and poetic lyrics.

✅ “Can I Believe You” keeps Shore on an upward trajectory, with more marvelous production and songwriting, both instrumentally and lyrically speaking.  Robin Pecknold’s lead vocals are commanding yet never overindulgent.  The lush, choral vocal are sure to give you goosebumps, adding an additional color to the overall sound.  The record is quite accessible, as Pecknold is reflective and sings about his own personal changes and trust.

“Jara”

Playful backing vocals commence ✅ “Jara,” one of the very best of Shore.  “Jara” is named after Chilean folk singer and political activist, Víctor Jara, who was ultimately murdered for his music. Other than being named for Jara, the record only once explicitly names the artist (“Now you’re off to Victor on his ladder to the sky”).  Per Apple Music, Pecknold asserts, “It’s not about Victor Jara— it’s more like with ‘Sunblind,’ where you’re trying to eulogize someone, to honor someone or place them in some kind of canon.” The biggest takeaways from the record is how the band references modern injustice. Like the aforementioned records, Fleet Foxes keep the ‘energy on 10’; there is never a dull moment.

“Featherweight” has a tough act to follow.  The record continues to make Shore quite compelling, shifting to a minor key. Instrumentally, one of the defining features is the piano part, with its rhythmic and melodic treble lines.  As far as theme, Robin Pecknold acknowledges that “Featherweight” examines a sense of privilege, and how he’s come to the understanding that his problems aren’t nearly as big as he once envisioned while some are nonexistent. “Many men might die for what I’d renounced,” he asserts on the first verse, continuing, “I was staging life as a battleground / No, I let that grasping fall.” As always, the lyrics are thoughtful and incredibly poetic.

Trumping “Featherweight” is “A Long Way Past the Past,” which returns to a major key – good old C major to be precise! Among the crème de la crème of Shore, we get another awesome arrangement and production, including horns which add some punch.  Pecknold continues to be a compelling vocalist, as are the lyrics.  The second verse in particular is strong:

“I know you walked this route
And you might help me out
You said what’s done is done
I can’t turn the hand ‘round
But still it looks a long way down.”

“For a Week or Two” 

The brief “For a Week or Two” marks another radiant moment for Fleet Foxes on Shore.  Nature plays a sizable role on the album’s seventh track, period.  Apparently, Pecknold is reflecting back on both the sound of the band’s first album, as well as his own experiences backpacking.  That definitely explains the outdoorsy aesthetic that’s clearly radiated here.  

“Now that a light is on / Now that the water runs / And the heartless are nearly gone / No time to get it wrong.” As much of a treat as “For a Week or Two” is at only about two-and-a-quarter minutes, ✅ “Maestranza” has compelling argument as the crowning achievement of Shore. Musically, it shows superb musicianship with a stellar harmonic progression and awesome arranging.  Vocally, Robin continues to shine, particularly given his assertiveness, coupled with the dynamic nature of the music, on the aforementioned chorus.

“I’ve been a rolling antique / For all my life.” That’s probably true of Pecknold and Fleet Foxes’ music.  It definitely serves as one of the best lyrics from ✅ “Young Man’s Game,” the band’s ‘goofier’ song oof sorts.  Truly, this colorful record isn’t as serious as many of the deeper numbers gracing Shore. It’s not a pop bop mind you, but the lighter nature is part of the charm. Pecknold plays around with youthful naivety.

“I’ve been lucky as sin
Not one thing in my way
Just the arena I was in
But it’s a young man’s game.”

“I’m Not My Season” 

If “Young Man’s Game” was generally lighter, “I’m Not My Season” returns Fleet Foxes back to more familiar, complex, and poetic territory.  “I’m Not My Season” is a slower cut that lacks the compositional grandiosity of some of the others from Shore.  That said, this stripped ballad is as beautiful and charming as everything else, featuring intimate vocals by Pecknold.

If “I’m Not My Season” felt safer for Fleet Foxes, ✅ “Quiet Air / Gioia” is definitely more progressive and thought-provoking. Furthermore, it’s quicker in pace and groovier.  The vocal production is a mega selling point, providing ample color. Additionally, the backdrop is richer and more varied than the song that precedes.  Here, we have constant rhythm, intriguing piano lines, and a particularly clever harmonic progression. It does feel like “Quiet Air / Gioia” is a two-part song, with the second part in particular sounding ‘wild’ (“Feeling a gold unfolding hand ono me / Nowhere to go, no one I’d rather see…”).  Per Pecknold, “The ending is this more ecstatic thing. Just imagining some weird pagan dance, like rite of spring or something, where it just kind of builds into this weird kind of joy. Like dancing while the world burns.” Yep, sounds about right.

“Going-to-the-Sun Road,” the 12^th track from Shore, slackens the pace. Even so, with compound duple meter (or perhaps compound quadruple meter), Robin Pecknold and Fleet Foxes maintain an incredibly potent groove.  Furthermore, listeners are treated to more of that gorgeous orchestration, including colorful horns that appear throughout Shore.  While Pecknold performs the majority of this four-minute number, Tim Bernardes provides contrast on the outro, performed in Portuguese.  That’ll definitely catch your ears.  As always, the lyrics are absolutely marvelous.

“Thymia” 

The brief “Thymia” commences the final trio of songs on Shore.  Again, the listener is blessed by a colorful sound palette including harmonized, warm vocals, guitar accompaniment, and lush horns.  “Thymia” is certainly a ‘vibe,’ from the perspective of an alternative/folk collective with sophisticated, compositional skill and top-notch musicianship.  The sense of spirit – thymia –  is reflected on this number that feels incredibly true to what Fleet Foxes are all about as a band.  Very outdoorsy, rustic, nature-driven, etc.  

Penultimate record  ✅ “Cradling Mother, Cradling Woman” is twice as long as “Thymia” – you could say that Fleet Foxes have plenty to say over the course of more than five minutes.  The record is worth every second to be honest.  The arrangement/orchestration/production is a ‘sight to behold’ in its own right. There’s a bit of everything, with horns, guitars, and the addition of strings.  Naturally, the musicianship is elevated a notch more, not that Pecknold and company have ever sacrificed it in the slightest on Shore.  The rhythm is one of the defining features, particularly how it’s carried by the horns.  Even with Robin singing with such finesse and more alluring lyricism, it is the sound of this record that truly stands out.

Fittingly, Shore concludes with “Shore.” At least to some extent, the song is inspired by a personal experience by Pecknold (a bad surfing experience per Apple Music).  Furthermore, there are interesting references, including late musicians (John Prine and David Berman), ‘Clementine,’ and obscure mention of the quarter moon, which the Geniuses have linked with the album’s release date.  Sigh, only with Fleet Foxes folks!

Final Thoughts 

As to be expected from Fleet Foxes, Shore is a truly special, well-rounded album that features top-notch musicianship.  While it’s not as complex as Crack-Up was in 2017, it still provides plenty of thought-provoking moments that contrast what numerous other bands are issuing.  There isn’t a dull moment over the course of 54 minutes – every song has replay value.  All in all, Shore ranks among the best albums of 2020, just as Crack-Up did three years prior.

✅ Gems: “Sunblind,” “Can I Believe You,” “Jara,” “Maestranza,” “Young Man’s Game,” “Quiet Air / Gioia” & “Cradling Mother, Cradling Woman”

Fleet Foxes • Shore • Fleet Foxes / Anti • Release: 9.22.20

Photo Credits: Fleet Foxes / Anti