Customer Reviews

Palo Santo (Bonus CD) (Exp) (Dig)

5 star:		(12)
4 star:		(2)
3 star:		(0)
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1 star:		(0)

 

 

I'll admit, when I heard that Shearwater was planning to not only remaster and rerelease "Palo Santo" as part of their new deal with Matador Records, but also re-record half of the album, I was apprehensive, to put it mildly. The original was an undeniable classic, unlike anything I've heard in a long time..."OK Computer" was probably the last record that affected me in a similar way.

But then I read comments from Jonathan Meiburg (composer and vocalist on all 11 tracks) stating their reasoning for revisiting the album, and it did make sense, given the dissatisfaction the band had with the original recordings, not to mention the apparent serious mastering problems. And now that I hear the new version, I know I'll probably never listen to the original again. The new recordings ("La Dame", "Red Sea", "Seventy Four", "Johnny Viola", and "Hail, Mary") are so much more powerful than their year-old counterparts, and the other 6 tracks take on a whole new dimension now that they've been properly mastered. The instrumentation is so much clearer and more spacious now...the songs breathe in a way they weren't allowed to before. For me, the most dramatic improvement comes in the form of Thor Harris' Bonham-esque drumming...the drum sound is HUGE now.

I loved this record before, but now it's well into my all-time favorites list. Do yourself a favor and pick up this record now!

Shearwaters new effort "Palo Santo" brings to mind the solitude and beauty of the best moments of Talk Talk ( Laughing Stock,Spirit of Eden)taking the listener on a musical journey that, with a dedicated ear, will find one returning repeatedly. Meiburg is developing his own unique vocal style that begs comparisons with Darren Richard of Pinetop Seven, Glen Richards of Augie March and Jeff Buckley.
In this day and age of pre packaged cookie cutter offerings it's fresh, invigoriating and stimulating to know that there are still artist who care about what matters, the music.
Shearwater are one of those unique few who matter.

Well, here it is already, the year halfway over, but by far, Shearwater is out of the gate this year and seemingly there are few bands in the race for what could be a slam-dunk for record of the year. Jonathan Meiburg has found the soul of Mark Hollis, consumed it whole, and regurgitated it into a stark beauty that we haven't heard in years. This album could actually be in the running for best of the decade. If you like Shearwater, you're going to love this album. If you've never heard of Shearwater, delve here and let it wash over you.

This record has been getting great reviews, but it's a shame that it doesn't seem to be generating the response from the public that it deserves. Like past Shearwater albums it is a floaty, dreamy experience, but unlike past Shearwater albums it has a harder and dirtier edge - and the songs just seem more cohesive and focused.

This record symbolizes the rebirth of Shearwater, and you may as well listen to it now rather than five years down the line when someone does a retrospective on great underappreciated albums from the past.

Until now, I've considered Shearwater just a side project of Okkervil River, good but not great. With this release, it begins to stand out on its own. The seeming directionlessness of earlier albums is replaced with a palpable sense of purpose in the instrumentals and vocals, without losing the original mellow, melancholic spirit of older releases. Definitely worth listening to.

By far their best release. Impressive vocals + complex instrumentals = one hell of a good record.

If you're into Talk Talk, you'll love it. It never comes out of the rotation. Perfect for any mood.

I hope not. This album is amazing, from the quiet personal musings of the piano in "Failed Queen" to the soaring notes in "Hail Mary". I had never heard of this band a couple of days ago, and I'm now unable to stop listening. The album, as an album experience (the tracks are not to be parsed or separated), is compelling and intense. It holds together from beginning to end, with not a wasted track on the album. I must say I have trouble discerning a material difference between the repeated tracks, but I don't care. This is the music that slips through the cracks, but it mustn't. It needs to be passed around by word of mouth and saved. I'd love to see this played live, as you can tell the energy in the songs would translate well to a small concert setting. Anyhow, just buy it from whomever or wherever.

In choosing my first Shearwater disc to review the decision was initially a tough one. Frankly, The Winged Life, Rook and this Texas band's recent opus The Golden Archipelago impress the hell out of me. But Palo Santo is Shearwater's crowning achievement to date. Jonathan Meiburg's voice just swoops and soars over Palo Santo with the grace and ease of the winged creatures he is so fond of. Meiburg has startling range, pin-point accuracy and such colour to his vocals. I've never been exactly a fan of falsetto singers, as the technique strictly speaking has always struck me as affected. However, Meiburg finds his comfort zone throughout his vocal range and his singing is just so natural. This is stirring music from start to finish. Palo Santo is bursting with instruments -- piano, guitar, organ, banjo, vibraphone, dulcimer, glockenspiel, drums, upright and electric bass -- played variously by Shearwater members Jonathan Meiburg, Kim Burke, Howard Draper, Thor Harrison and Will Sheff. Scott Brackett (trumpet), Travis Weller (violin) and Craig Ros (organ, guitar and radio) join the band to lend support. It's a texturely complex blend of sounds, but everything has its purpose and place in service of the songs. While the album starts slow and grand with La Dame et La Licorne, it kicks up quite a head of steam on the crashing White Waves. Palo Santo is a glorious track -- with a memorable melody -- particularly when Meiburg's vocal might meets the horns. Nobody is lovely with a piano and acoustic guitar as the prominent backdrop. The simply beautiful Johnny Viola finds Meiburg in full vocal flight, with sparkling piano and horns. Meiburg wrote all the songs on Palo Santo but Will Sheff -- also of Okkervil River fame -- has a major part to play in this recording. Palo Santo was recorded by Matt Barnhart at the Echo Lab. Someone else commented on Amazon about the great drum sound on this remastered version of Palo Santo. I must concur on that. It is an impressive recording all around, but the drums really come through wonderfully in the mix, when many recent studio albums I've heard by noted commercial acts have thin drums, most likely as a result of excessive compression. The bonus disc is actually worth a listen as well with excellent alternate takes of Palo Santo and Red Sea, Black Sea, along with a few other really good tunes that didn't make it on the album proper. Shearwater is a pretty epic band in American alternative rock circles. Palo Santo is a sublime, singular musical experience.

I remember the exact place and moment I heard the sounds of OK Computer for the first time...and that rush of euphoria which overcame me, the uncontrolable chills that ran across my arms listening to it. I will never forget that moment I realized I would be comparing all bands to the bar that Radio Head set. If you are reading this, and you can relate, or perhaps shared in this experience I am talking about here...then prepare yourself for that same type of musical journey. This is not a Radio Head wanna be band! In fact, they are not similar instrumentally-they just posess equal talent. Can I give a better compliment? And this is why Shearwater's Palo Santo did to me those very same things OK Computer did to me. Shearwater has put out something magical here-this album is a utopia of beauty and musical genius. Without question, this band is the most underappreciated band in the music industry today. Get this album, no matter the investment, and you will never regret it.