Customer Reviews

Helplessness Blues

5 star:		(64)
4 star:		(18)
3 star:		(17)
2 star:		(11)
1 star:		(6)

 

 

Something remarkable is going on here and its great to watch and listen. Two observations to start with, if as suggested in the music press that Fleet Foxes main man Robin Pecknold has poured his heart and soul into their second album "Helplessness blues" it has paid off and this not only equals their great debut but surpasses it. The second reflection is that New Musical Express has given this album a paltry two stars in a hideously awful review from an increasingly irrelevant music magazine. This in itself should encourage you to buy it since "Helplessness blues" is a triumphant classic and while its stays firmly within the orbit of harmony heavy folk rock of "Ragged Wood" it marks a substantial and mature progression for this Seattle band. This is particularly pronounced in terms of Pecknold's songwriting skills which take off into the stratosphere and the band produce some of the greatest soaring harmony singing this side of Simon and Garfunkel's "Bookends" and the great debut by Crosby, Stills and Nash.

Start with the brilliant title track. This song is divided into two parts firstly a introspective set of lyrics by Pecknold leads to a vocal tour de force which at 2.58 then moves into a sublime Fleet Foxes harmony workout. It is easily one of the best songs released this year but is matched on the album but equally bold contributions. "Sim Sala Bim" is delightful haunting folk song which splits into two parts with the CSN influence especially pronounced in its forceful second part. The reflective opener "Montezuma" sees Pecknold in a pensive mood questioning, "So now I am older/Than my mother and father/, When they had their daughter/Now what does that say about me" over almost warm religious style harmonies. It contrasts with the joyous "Battery Kinzie" probably the song that could have sat most happily on their debut. The albums centerpieces are two episodic songs of which first up is "The Plains/Bitter Dancer" a six minute journey containing some of the albums best harmonies and the albums longest track "The Shrine/An argument" a sort of baroque "Paranoid Android' with a powerful vocal by Pecknold which takes us on a journey from folk to a wig out free jazz conclusion. It is stirring perfection and will take audiences by storm on the forthcoming UK tour.

Other highlights include "Lorelai" which owes a huge debt to one of Dylan's best but not always most heralded songs "4th Time Round" from "Blonde on Blonde". Then there is the intriguing instrumental "Cascades", the slightly jazzy "Bedouin Dress" and two of the most gorgeous songs Pecknold has penned. First the lush "Something to admire" and the truly sublime sparse acoustics of "Blue Spotted Tail" where we can forgive Pecknold's "hippy" affectations for the wonderful sweet yearning which underpins it. The whole thing is topped off with the cherry on the cake that is "Grown Ocean" which was the highlight of the set they performed on Jools Holland with Pecknold's voice cracking as the songs pace picked up and surged. It starts with him announcing "In that dream I'm as old as the mountains/Still is starlight reflected in fountains/Children grown on the edge of the ocean/Kept like jewellery kept with devotion". It builds to a massive acoustic crescendo with the band firing on all cylinders and concludes with a gentle verse.

It is a fitting ending to an album, which sees the band radically redefine as oppose to reinvent their sound, but by doing so build on the brilliance of their debut and actually "outpunch" it. This album is a flashbulb moment for music in 2011. It sets down an American benchmark for others to aspire towards, in the same way that PJ Harvey's "Let England Shake" has done in the UK. God knows how the Fleet Foxes follow this album (although we thought that after "Ragged Wood" and the "Sun Giant EP") for as it stands "Helplessness Blues" is the sound of rock music redemption.

It seems to me like most bands either try to change too much with their second album, and in the process lose their sound, or they just rehash the first album and reveal themselves as one-trick ponies. Fleet Foxes do neither of these things. This album is different, but not too different. Lyrically, the focus has changed from interpersonal relationships and family to introspection and society...so their moving inward and outward at the same time. These guys are all improving as musicians. This material is more complex and the performances are closer to perfect. The singing and drums are especially tight. Overall, it's what you'd expect if you've been listening to these guys for a few years, and if you've enjoyed their other stuff than you will probably like this. My only complaint is that some of the arrangements may be too complex and the soundscape becomes too saturated at times. That's not enough to keep me from giving it a 5-star rating though. Enjoy!

Fleet Foxes seemingly came out of nowhere in 2008 with the promising "Sun Giant" EP, followed later in the year with their self-titled album, which immediately won critical acclaim. After lots of touring and a botched attempt to record a new album (the band scrapped the first recording sessions), now finally comes the highly anticipated second album.

"Helplessness Blues" (12 tracks; 50 min.) is no radical departure from the first album, sounding ever more gorgeous, if anything. Singer-songwriter Robin Pecknold continues to explore the sounds of spaceous folk-rock, with clear influences from Simon and Garfunkel, and the intrecate vocal interplay (reminicent of, say, the Beach Boys) are even more in the forefront than on the debut album. All of of this is a good thing. The album kicks off with a gentle "Montezuma" and great tracks follow one after another. It is clear that Pecknold has thrown his heart and soul into making this album. Special mention goes to track 5, "The Plains/Bitter Dancer", which is really several songs into one track, but it works just beautiful. The title track follows, and is of course nothing "blues"-like, but in the ache that the song brings about. A short instrumental "The Gascades" is the bridge into the second half of the album. "Lorelai" is a sunny love-song. It eventually leads to track 11 "Blue Spotted Tail", just Pecknold solo on acoustic guitar, and it would be a fine album closer in my book. But it is followed by one more track "Grown Ocean", which is not bad, but somehow for me it felt like one song too many. But it's a minor quibble, to be honest. In all, this is clearly one of the best albums of the year so far.

With the unexpected (and on-going) chart success of Mumford and Sons, and this being such a highly anticipated album, I'm guessing this album is going to crash into the top ranks of the Billboard 200 album chart upon its release, and deseverdly so. I had the chance of catching Fleet Foxes live at the Coachella music festival in April, 2009, and they were one of THE highlights of the festival for me, just mesmorizing. Equally great was the rare solo set that Robin Pecknold brought here in Cincinnati in April, 2010 at the MusicNOW festival (curated by the Dessner brothers of the National), in which he brought several of these new songs (along with some covers and nuggets from the debut album). What a set that was. Meanwhile, "Helplessness Blues" is HIGHLY RECOMMENDED!

From the first few seconds of Mykonos I have immediately loved everything Fleet Foxes have done. This album was different for me. At first I hated it but I persevered. After 5 listens I still didn't like it. It just didn't have the glorious hooks of the earlier stuff. I normally wouldn't bother with an album after that but I sensed something I might like in this and I gave it more time. After something like 10 listens I now like it. But not nearly as much as the earlier work. For me, it's all quite forgettable but it's still quite nice background music.

This is an album that certainly rewards repeat listening---when I first heard it, I certainly wasn't as immediately arrested by its sound as I was by Fleet Foxes' previous efforts. However, after a few listens you'll start noticing the interesting musical features of many of the songs here: the spacey tonal shift of Helplessness Blues, the insistent, strummed undercurrents of Montezuma that crest in the later parts of the song, and so on. That's good stuff, and if it were any band other than Fleet Foxes, I'd just be thrilled to have it.

However, Fleet Foxes' previous work was so surpassingly brilliant that this album ultimately just feels lackluster. What it comes down to, for me, is the poetics of the songs here. Many are lauding the album for its increased "introspectiveness," which is certainly present in spades here. Most of the songs feel as though they were written about the singer, his woes, wonderings and such. All songs have some sort of autobiographical element to them, of course; but one of the incredibly refreshing features of their earlier work was that it didn't incessantly prattle on about all the trite soul-searching of the people who wrote it. It accomplished its deeply human effects much more through folk themes and suggestive storytelling (as in my personal favorites by them, "Tiger Mountain Peasant Song" and "Blue Ridge Mountains"). The problem with so much indie music is that it feels like an "Existentialism for Dummies" course all told in only a slightly different way. Fleet Foxes really pushed against that grain in their previous work, and I was sad to see them fall into the indie "oh me" mode here, certainly in terms of their lyrics, and marginally in terms of the music backing it. Oddly enough, their previous work inspired more introspection and feeling in listeners because it wasn't so awkwardly self referential.

Ironically, some of the songs seem to acknowledge their lack of inspiration and to take that lack as inspiration, which is heart-rending in a sense, and almost interesting. The title track feels like an anthem directed to Fleet Foxes' listeners, promising something more insightful later, when they've got this sophomoric angst out of their system ("... serving something beyond me. But I don't know what that will be; I'll get back to you someday soon you'll see"). And I certainly will keep them, and even this album, on the shelf; but I do hope they find their orchard next time around.

From the likes of The Decemberists and Bon Iver to Mumford & Sons and Blitzen Trapper, indie folk seems to be a nationwide trend especially in the pacific northwest. It pays homage to music of the 60s and 70s with a bit of a country music tinge thrown in. Seattle's Fleet Foxes are one of the forerunners of this genre and site acts like Bob Dylan, Peter, Paul & Mary, Neil Young, Crosby, Stills & Nash, and Ennio Morricone as inspiration for their music, especially their new album which releases nationwide on May 3rd.

"I was raised up believing I was somehow unique... but I'd rather be a functioning cog in some great machinery" lead singer and primary songwriter Robin Pecknold sings on the title track of Fleet Foxes' sophomore album "Helplessness Blues." The theme of this album, Pecknold says, "is the struggle between who you are and who you want to be or who you want to end up, and how sometimes you are the only thing getting in the way of that."

The theme of addressing life after newfound fame paired with formidable song arrangements have made "Helplessness Blues" a real gem to flannel-wearing bearded guys all over. Okay... other people will love it too.

Fleet Foxes first and self-titled album was released in 2008 and their follow-up was meant to be recorded that same year. But due to an overwhelming and frankly unexpected positive reaction to the first album, subsequent touring and promotion shelved it temporarily.

After several other unseen forces such as illness, scheduling, creative doubt, and rewriting, "Helplessness Blues" was finally finished in December of 2010. It was recorded at several places: what used to be Seattle's Hall of Justice until Death Cab For Cutie moved out, in Woodstock New York at Dreamland Recording, and finally back in Seattle at several other studios including Avast! Recording Co. where bands such as Band of Horses, Soundgarden, and The Shins have also recorded.

Pecknold describes the album as, "a synthesis of folk rock, traditional folk & psychedelic pop, with an emphasis on group vocal harmonies," the latter of which is in true Fleet Foxes fashion. The first album was full of bountiful and intricate vocal harmonies on songs like "Sun It Rises," "Quiet Houses," and "He Doesn't Know Why." As a whole it was very echoey and delicate, yet at the same time concrete and exquisitely crafted. Every word sounds like it is being sung from the end of a long hallway with the microphone at the other end. It almost felt like an accidental success, as though the band set out to solely make music that appealed to them. But as it turns out, it appealed to many others as well, not to mention the fact that their second album taking as long as it has to release, has left people eager for more.

Intricate vocals and harmonies are still one of the focal points of the Fleet Foxes experience with "Helplessness Blues." From that standpoint Fleet Foxes seem to be operating under an if-it's-not-broken-don't-fix-it mentality which has the potential to get old if continually recycled but for now is working well.

Instrumentation plays a much more significant role on this album. In addition to traditional instrumentation, the likes of much more unique sounds are present such as hammered dulcimer, zither, wood flute, tympani, tamboura, fiddle, clarinet, Tibetan singing bowls, and vibraphone.

Although this album took much more time than intended to make and release it is easy to see that Fleet Foxes have found their niche and are looking for ways to expound upon that. They even take the time to throw in a lot of instrumentals (such as the song "The Cascades") here and there which is a welcome treat on any album.

The title track stands out not only musically but lyrically as well. The theme of introspection and overcoming one's own limitations to find success is as appealing as any.

The song "Someone You'd Admire" has lyrics that are very contemplative. It is a simple tune with just Pecknold's vocals and a guitar. It is nice to see that in the midst of an album which focused a bit more on complexity that Fleet Foxes are still able to demonstrate simplicity which in turn makes the album more emotionally impacting.

"The Shrine/An Argument" is two distinct songs in one and is the album's longest track. The first half starts off like it was taken directly from a Simon & Garfunkel album and leads into a more percussive section. The second half mellows down as far as percussion goes but introduces an interesting section where a lot of the aforementioned instrumentation of the album is present.

Fleet Foxes are not the type of band that will initially blow you away. Rather, their music has to be chipped away layer by layer before you feel like you have a grasp on it, which is a great thing for an album's longevity. From that standpoint, their music takes effort to enjoy. It has depth and cannot be taken at face value. While "Helplessness Blues" doesn't initially stand out as a classic album I think it has the potential to grow into an album that will stand the test of time and ultimately end up on a lot of "Best of 2011" lists.

Fleet Foxes have returned from their tours and studio sessions to release another album! I have been keeping up with the band since their first major release, the Sun Giant EP. I have been eagerly awaiting their next big release. They haven't retraced themselves: the album has an entirely different feel than anything they have put out prior. This isn't a "Fleet Foxes II" and that's a good thing.
The album hasn't grown on me as quickly as their first two releases. This album almost feels like a rough home album that Robin made with his band as a back-up. I think this is mostly because there are not as many vocal harmonies as with their first two releases. That was one of the disappointments I have had with this record; Fleet Foxes vocal harmonies are gorgeous. It is unusual to me to hear Robin singing solo so much on a record.
The instrumentation is really rad. There are many new and interesting sounds on this record, and with every replay, you always find something new. However, you won't get lost from the exotic instrumentation: their good 'ol acoustic guitar always brings you home.
The CD packaging is great. It includes a over-sized poster of the album cover, lyrics in the gate-fold, and their CD is inside a paper slip-case, just like a vinyl album. VERY cool!

With Fleet Foxes previous work, they gave us a few perfect rhythmic neo-folk tunes along with a side helping of forgettable filler. This album is just the filler. There is not a single Mykonos, White Winter Hymnal, Blue Ridge Mountains, or the like on this album. In fact, Helplessness Blues sounds like a bunch of rejected tracks from some failed 1960's power folk band. The lyrics, rather than poignant and relatable, have become unapproachably personal and lacking in poetic style. The music is decent at times, but I waited the entire album for those crescendos and slick transitions for which I liked this band to start. This material would have been better served whittled down to four-song EP, using only the actual good portions of these offerings. Better luck next time, Fleet Foxes.

There are hardly the words to describe how utterly, sometimes painfully beautiful this album is. The title song of the album is a quietly epic piece about individuality vs. conformity. It sounds like growing up - when you're young, all you want is to be something special, unique and unlike any other. As you get older, you begin to see the beauty of "a functioning cog in some great machinery." Having a job, a family, a life and knowing that you're part of the ecosystem that is the earth, the solar system and the cosmos. It's a beautiful, humbling thing!

I truly think that this album topped their previous, a feat I thought could not be possible.

Just one listen to on The Rolling Stone Web site as a free listen and I was hooked, best album of 2011.