Customer Reviews

Why Should the Fire Die

5 star:		(68)
4 star:		(30)
3 star:		(9)
2 star:		(14)
1 star:		(7)

 

 

Nickel Creek has always been an amazingly talented band, and each of their cds has been a joy to listen to again and again, but with Why Should the Fire Die? it seems that they have been able to most perfectly realize what their band wants to be. Their self-titled album (and the out of print Here to There) exhibit their skill as a straight bluegrass band and This Side is them trying to prove that they can be anything but bluegrass, but this album is just Nickel Creek being who they are; a wonderfully eclectic band that can play in and across ever genre without missing a note.

While older fans might be disappointed as the band increasingly distances themselves from straight bluegrass, one of the best things about this album is the fearlessness. No longer concerned with proving themselves, Nickel Creek opens the album with a number that sound be a hit on MTV or VH1, When in Rome, but moves back and forth to much more traditional songs during the course of the album as well. Jealous of the Moon and Stumptown would both have fit just fine on their earliest efforts. This is the first album that I think really captures the eclectic feel of a Nickel Creek concert, where they will often open with a bluegrass instrumental but during the course of the night play everything from Beck to Coldplay, from Radiohead to Bob Dylan, from the White Stripes to Jon Brion.

Nickel Creek is the kind of band that has the potential to expand their fans horizons and bring together music fans of all kinds who are looking to once again just hear something different from a talented band reveling in the joy of making music.

Nickel Creek have been somewhat typecast as a gentle bluegrass-pop combo, and it's true that their music is pleasant to hear. But I do admire the way they continue to stretch their musical boundaries, both lyrically and melodically. Listen to a tune such as "Eveline" on the new CD and you will hear acoustic instruments and soft vocals, but there are also complex harmonies and tricky chord changes. As others have noted, N.C. continues to evolve in interesting ways.

On the distribution of lead vocals, I do like Chris Thile's great singing - "When You Come Back Down" is one of my very favorite songs - but on this latest disc, I'm really wishing they would give Sara a chance to sing more. Chris sings seven songs this time, Sara three, and Sean one. I'm a Creek fan, although I've stopped short of buying Chris or Sean's solo albums. Sara is the one band member whose solo CD I would definitely buy -- but she has never done one.

I listen to a wide variety of music yet Nickel Creek seems to have created their own explosive yet moody genre. I enjoyed their first two albums but always thought they were just a bit too airy or fluffy. My first time through this album found me scratching my head, primarily because I believe I was listening for the Nickel Creek from the previous albums. Taking a few more spins through the disc and listening what this album really has to offer will dazzle and convince you that this group has caught fire. The instrumental work is beyond compare. I am even more amazed by the lyrical work on the album and the fact that most of it comes from the members of the group.

Each year there are only a couple of albums across all genres that truly stand out as definitive well rounded effort and not just an album with two hits and a bunch of rubbish to fill it out. Why Should The Fire Die? is the only album I have found this year that can make such a claim.

The first listen of Nickel Creek's latest was disappointing. While I enjoyed their second album, it didn't hold the warmth of their debut. "Why Should the Fire Die" leans away from traditional bluegrass and into a field that is without name. However, a second listen proved me happily wrong. Though the album is still quite progressive and lacks the intimacy that the group has shown they are capable of, there is no denying Nickel Creek's musical talents. The instrumental tracks are particularly outstanding this time around. Though I miss the simple beauty of their original debut, I'll be happy to follow Nickel Creek's journey to new territory.

Nickel Creek has done what I though was impossible. They outdid themselves. I was very cautious listening to this CD, because I was afraid that in comparison to "This Side", which had been my favorite album from them, it just wouldn't hit the mark. But it went above and beyond my expectations. Both musically and lyrically, their sound has grown into an experimental extravaganza, while keeping their roots in the bluegrass their fans loved in their self titled album and This Side.

In This Side, what always impressed me was the band's ability to change their sound with each song. Throughout the whole album, you can feel the bluegrass but also a hint of something else. It was produced by Allison Krauss, another favorite of mine, and I could feel her influence in some of Sara's vocals. However, my favorite songs on the album were the songs closest to the sounds in Why Should the Fire Die?.

I love Nickel Creek's cover of Pavement's "Spit on a Stranger" from This Side. I actually didn't even realize it was a cover until hearing the Pavement song on an internet radio station. I feel like this is how a cover should be; take everything good from the song, add to it, and make it your own. If only more musicians would follow suit! And another great song on the album was the only instrumental, "Smoothie Song". It truly brings out all the talent in the three band members as musicians and song writers.

On Why Should the Fire Die?, Nickel Creek branches out a bit from This Side and explores an eclectic world of music, from the rock sounds in "When in Rome" to the poppy vocals in "Somebody More Like You" to the aggressive minor chords in "Best of Luck". Of course, many of the songs still have a bluegrass undertone, and there are three great instrumentals that show off Sara, Sean and Chris's talents as young musicians. The band has found their niche, I'd like to think, and this time without producer Allison Krauss. Some might also say that Chris Thile seems to have too much influence on the album, but so what? He is a great songwriter and singer. Sara and Sean Wilson still have their moments to shine on the album.

Like "Spit on a Stranger", the amazing "Tomorrow is a Long Time" does what a good cover should. They added some great sounds to the song, but kept the same tone that Bob Dylan intended. Sara's vocals bring out the feeling of longing even more to envelope the listener in a cloud of musical bliss. "Helena", my personal favorite on the album, is wonderful showmanship in songwriting on Chris Thile's part, and it may not sound like traditional bluegrass, but I think it could have easily fit in with many of the songs on This Side.

Nickel Creek may have changed from what fans are used to in This Side and especially from their first album, Nickel Creek. However, I feel it's a change for the better. Why Should the Fire Die? has a stronger appeal to a younger audience now, and their older fans may rebuke at their "different" style. Give it a few listens though, and you'll see that Nickel Creek hasn't turned away from the style that made them a favorite amongst bluegrass and country fans, they've just improved it to make their own genre.

Like many great artists who have gone before, Nickel Creek tends to befuddle many listeners. What is it? What box does it fit into? Why is there so much Chris Thile influence on it? And my all time favorite? Why are they getting so dark?

My review is that this is a fine album. I'd give it 4.6 out of 5 which brings it up to 5 in round numbers.

But last question first. Dark? hmmm, let's look at their self titled debut album: Lighthouse Tale: Death, Sweet Afton: Death, When you come back down: Breakup, the Hand Song: Death, The Fox: Animal Deaths. Not much change, huh?

I think for some folks, it's darker because the music matches the subject matter a bit closer. But overall, the subject matter hasn't changed much. If anything, this album is more honest and in your face.

Now, the second to last question that seems to come up. Why is there so much of Chris Thile on this album? In this case, folks have to be thinking about influence, not content you can add up. In both the debut album and "This Side" Chris is the dominant player, singer and writer. And if you don't think this is true, just add up the number of mandolin lead songs, the number of Chris solos, the number of songs written by Chris and the number of songs with lead singing by Chris and Sean and Sara. If anything, this album has far more harmony singing, more togetherness, fewer songs where Chris sings alone.

Catgeories are the real problem for most folks. Let's face it, NC loves to experiment and complement. They complement The Beatles, Paul Simon, Bob Dylan and others on this album. And they do it with virtuosity and style. But if you don't like to wander, you will always find NC frustrating. They've been doing it from the beginning. Robin and Marion (debut album) ain't bluegrass.

The real problem in understanding NC is the "voice" or point of view of the composers. I'm not saying I always get it either, but many songs are not about Chris or Sara or Sean. They pick a character from fiction or films or their experience and write the story from their perspective. This can cause all kinds of misunderstanding and guesses about their lives, loves, politics, etc. Do NOT assume the music is autobiographical or that Chris has lost his faith. The more I listen to this album, the clearer it is to me that most of these songs are about non-band members. For example in the song, "When in Rome," which I see as a scriptural admonition to "set your heart not on things of the earth" voices or represents what those who live in Rome think, so the "voice" sounds cynical, mentions book burning, etc. You have to get the "voice" to get the songs. A lot of folks had the same problem with the title cut from Deceiver.

(edit from 2008 article, (http://www.nctimes.com/articles/2008/02/23/entertainment/music/12_56_062_20_08.txt)

"It was easy to speculate that the last Nickel Creek record included commentary about Thile's love life."

Chris speaking:

"Actually, no. All of those songs were done before. Some of those songs were about a friend. I would have deserved to be broken up with had 'Can't Complain' been told from my point of view; they most certainly were not."

Then, there is the music. Such music. I live for the instrumentals and the instrumental breaks in each of the songs, the counterpoints, harmonies, riffs and the delicate, classical fingerings. Amazing stuff you will not find anywhere else in popular music.

Then there are the songs that just get you. For me, the song off this album that does that is Doubting Thomas. Has anyone ever written a better, more honest popular song that describes the struggle of trying to be "in the world and not of it"? "Please forgive me for time that I've wasted" brings a tear every time I hear it.

When you are talking instrumentals, this CD has MORE than This Side. Don't just count the numbers which don't include singing (there are 3 to the one on "This Side"). For example the musical break in the Dylan song which begins at about 1:40 and lasts about a minute is as pretty and pure and complex a piece of Nickel Creek classical grass as you will hear. It's fine work.

Nickel Creek is unique.

As I skimmed through these reviews I noticed an astonishing polarity between opinions. It seems, either someone loves the album and Nickel Creek's new sound, or they hate it because it is less "blue-grassy" or too "mainstream." (in fact I've read a couple of really biting remarks about this album!)

I will say right now, that I am not one to follow the mainstream... it's all that's on the radio, thus I always listen to CDs. I am also quite a bluegrass lover. But, I LOVE this album--though it moves towards a more modern, poppy sound sometimes, and strays from traditional bluegrass sounds. What really catches my ears is the marriage of styles and sounds that Nickel Creek has brought to this album, and previous albums. Nickel Creek's sound has become a combination of bluegrass, folk, pop, and even some rock. Daring, yes. But I find it exhilirating.

This album, is, as most people recognize, VERY different from other albums. However, I will argue that it is not too "mainstream." I have YET to hear their music on the radio (which is why I have such disdain for the local radio). And I have not heard many bands who can do an all out rocking song with all acoustic instruments. They are, truly, virtuosos, and adventurous in their music.

Their lyrics are darker on this album... we see Nickel Creek exploring a new side of themselves.

Yes, there are tracks that have a touch of pop... Beatles harmonies... or Coldplay-esque vocals. However, I think these sounds lend themselves to Nickel Creek's unique acoustic sound and show their willingness to bring in all their inspirations to their work.

This album is on my list of BEST albums. Say what you will about me, but I listen to this CD repeatedly, and I am not ashamed.

If you did not like the direction Nickel Creek was going with This Side (that is, their straying from traditional bluegrass music), then perhaps this album is not for you. But, if you, like me, consider Nickel Creek their own genre and are open to their unexpected musical directions, then I HIGHLY recommend this album.

I'm open to all their directions, and I cannot WAIT to see what they do next. Who knows? It might be bluegrass-down and dirty--but I know this. They will ALWAYS retain their unique sound: an unusual combinations of styles, pristine vocals, and crisp instrumentation. This album, as with all their albums, is a winner.

"Why Should the Fire Die?" is absolutely brilliant.
"When in Rome" is an incredibly abstract venture from the bands roots. The sound is extremely aggressive and, as some one said of "The Duhks", "electrifyingly acoustic". The whole album is just as electrifying!
The unique choice of transitions in the song "Can't Complain" take a little listening to accustom one's ears to the unusual sound, but are a wise decision- and one which fits the song perfectly. If one simply cannot adjust to the sound, the end of the song makes any "pain" worth the wait. The last 30 seconds of that song are, both vocally and instrumentally, incredible! Thiles is truly a unique and versitale vocal talent, and the music is absolutely resounding!
"Jealous of the Moon" is a wonderful showcase of Chris Thiles vocals, as well as the harmonies of Sara Watkins. This song really shows Thiles' versatility as a vocalist. He could easily sing in a rock, punk, or pop band just as well as he can in an alt-acoustic act. In addition to lovely vocals, the lyrics are eloquent and very well-written.
The instrumentals on the album are all very diverse and show off different genres of their music. "Scotch and Chocolate" is more for blue-grass, while "Stumptown" is more for the acoustic rock fans of the world. "First and Last Waltz" is an interesting venture into the world of true traditional, hillbilly country.
I'm not a fan of Bob Dylan, but Watkins does a wonderful job on his song "Tomorrow is a Long Time". Once again, it takes a few listens to adjust to the sound, but it really does become enjoyable after a few listens.
My favorite track on the album, by far, is "Best of Luck". Here's why:
"A year ago he got in touch. I asked him to forgive me.
It should've ended there, but I forgot I wasn't eighteen."
Ear-popping, mind-catching, brilliantly and simplisticly worded lines like that,plus the surging acoustic sound drenching the song make this song the most brilliant piece of art I have just heard. The moment I heard this song I said "Damn it, I wish I wrote that!" This song is bone-chilling and (at the risk of sounding redundant) unbelievable electrifying. It begs you to get up and move to the music. The harmonies are achingly beautiful and intricate. An absolutely incredible song.
"Eveline" harchens a bit to acoustic-rock. The aching melody is accomponied by a gorgeously erratic and random instrumental. This is such a haunting song; I can't adaquately describe how hair-raising it is. It creates spirits to dance inside your mind.

"Why Should the Fire Die?" is an incredible, daring venture on the behalf of Nickel Creek and I absolutely commend them for their brilliant rendevous in the studio. It takes a few listens to completely acustom one's ears to the whole album, but five stars, easily.

Thanks, largely, to the brilliant songwriting of Chris Thile, Nickel Creek has, once again, made a huge leap in maturity with their 3rd and most diverse album. Where most young groups find themselves muddled in attempts to recapture their signature, hit sound, Nickel Creek tackled their sophmore album with ease and are cruising on into genius status with a difficult, experimental, yet always accessible junior effort.

Sure, many of the songs stay true to the gentle, bluegrass sound we have come to know, while others are harsh and erratic - even nerve-wracking at times.

But all the music on the album is absolutley APPROPRIATE. Each song is a complete package. Not a tune and words sewn together, but an idea, a concept, a complete song. This is the sign of a great songwriter. Anyone can write catchy lyrics and an enjoyable melody. Not everyone can bring it all together as one entity. Thile, undoubtedly the driving force in the group, has most certainly proved he can.

This is not to downplay the contributions of the Watkins siblings. Sara's vocals and fiddling are always a welcome element and Sean is an undeniably talented musician. But the ringleader of this operation is Thile, and with this particular collection of songs, he has catapulted himself and his bandmates into the same league as other stellar songwriters. Upon first listen, I knew this album would wind up amongst other gems such as (Toad the Wet Sprocket's) "Dulcinea" and (Fiona Apple's) "When the Pawn". Certainly, touring and collaborating with Glen Phillips (Toad's songwriter) has helped speed up and define Thile's own musical maturation. Songs like 'Best of Luck', 'Jealous of the Moon', and (my favorite) 'Doubting Thomas' are very remniscent of Phillips' sound without ever being redundant.

"Why Should the Fire Die?"'s biggest attribute is in its exploration of sound. Keeping a firm footing in their bluegrass roots, the band has explored a multitude of musical styles and genres and brought them back home to spice up and liberate the soft melodies and hoe-down jam sessions that defined This Side and their self-titled debut. There are brief homages to nu-rock groups like Radiohead and Sigur Ros, and yes, even Coldplay, throughout the album. I truly hope that non-fans of the band and of the bluegrass genre give this album a chance - its a stellar effort to cross many musical boundaries, without every losing sight of the homeland.

Still, Thile is a long ways away from the lyrical prowess and musical mastery of the Phillips and Fionas of the world. But in Nickel Creek time, that could be the very next album.

I sure hope it is.

Best tracks:

Doubting Thomas - a soothing, folky song about faith and the afterlife. ~I'm a Doubting Thomas/I took your promise/But I do not feel safe~

First and Last Waltz - a breathtaking instrumental that needs no words to express its sentiments.

Somebody More Like You - a breakup song that fits in nicely with the current emo-ish scene. Would make a great single. ~I hope you meet someone your height/So you can see eye-to-eye/With someone as small as you~

Helena - probably the closest Nickel Creek will get to truly rocking out and another potentially great single.

Why Should the Fire Die? - great song to end the album with, soothing melodies and harmonization. ~Why should the fire die?/My mom and dad kept theirs alive~

I never really listened to Nickel Creek. All I had to know that my sister liked them and that was enough for me to stay away. Added that I was under the impression that they were country gave me extra reason to stay away. But I gave a listen to their latest album, Why Should the Fire Die? when some one mentioned that the album was heavier, I decided to throw away any preconceived notions and give it an unbiased listen. I was pleasantly surprised at what I heard. The country label isn't really a good one for the band as bluegrass would be a better one as their sound would fit better on the O Brother Where Art Thou soundtrack than in the Boot Scootin' Saloon.

Why Should the Fire Die? starts off with one of my favorite phrases, When in Rome. It fit my experience for the album perfectly. Although When in Rome is partly sarcastic pointing out it's not always good to "do as the Romans do." Going with the flow can sometimes turns out bad: "Where can a teacher go, wherever she thinks people need the things she knows. Hey those books you gave us look good on the shelves at home and they'll burn 'em in the fireplace. Teacher, when in Rome." A bad break up is at the root of Some One Like You. "I hope you meet someone your height so you can see eye-to-eye with someone as small as you." All I have to say is ouch. Elsewhere on the album, there are a few relationship song as seen by the titles; Eveline, Anthony, Doubting Thomas, Helena.

There are three instrumental songs here, usually an instant fast forward moment when not associated with a Pink Floyd album, but all of them from Nickel Creek held my interest. Scotch & Chocolate, a wonderful combination by the way, starts out slow and builds to a good down home feeling. On Stumptown, the group takes turns trading solos on their respective instruments. The First and Last Dance is an airy song that does sound like it was influenced by a Pink Floyd instrumental or two.

The highlight of the album is whenever the female of the group takes over the lead vocals such as on the song Tomorrow is a Long Time. Also there is Anthony which sounds like it was recorded back in the time of Ledbelly. She also takes over a verse in Best of Luck. For the guys, Can't Complain is their standout track. The guy is trying to convince himself, since he warned his partner that he was a man, anything he does should be excused. I told her I could love her, I told her I could lie, so she can't complain." This a trick every guy should try.