Crack-Up by Fleet Foxes

Describing music with shimmering instrumentation and rich vocals as ‘beautiful’ is easy. But rare is music that sounds beautiful, as much as it feels beautiful – music that captures the many intricacies of our world and emotions in its own flourishes. This music is not superficially pleasant – often, it might deal with powerful themes that ordinary men and women are left to grapple with. But the result is immensely evocative, vivid in its detailing.

Musicians that can create truly beautiful music, then, are to be treasured; Fleet Foxes is among them, and Crack-Up is a stunning work of music, and art. Robin Pecknold is a wonder – his esoteric, poetic lyrics are incredible in their ability to defy the rigidity of time and place. His vocals resonate through every emotion he can capture. The band’s music takes instruments that so many others have used, and conjures new soundscapes with them; their sound is gorgeous and soaring, and the arrangements immaculately conceived.

Album opener I Am All That I Need / Arroyo Seco / Thumbprint Scar is a sprawling song that unravels in the manner of an internal monologue, tugging between doubt and faith, shifting between hushed-up whispers and exuberant proclamations. Third of May / Ōdaigahara, the lead single and one of the band’s best songs, is similarly a journey all in itself, contemplating nearly every nuance of relationships through grand swells and falls of music.

Kept Woman is ethereal, the kind of song that leaves you with a lump in your throat for no discernible reason other than being struck by its beauty. Fool’s Errand plays like a melancholy anthem, with driving percussion but strings that make each step forward feel a tad too heavy – “It was a fool’s errand/Waiting for a sign/But I can’t leave until the sign comes to mind,” Pecknold rues.

True to its name, album closer Crack-Up acts as a microcosm of the album – a jigsaw puzzle of a song that would sound disjointed in the hands of lesser bands. Much like the introductory track, it’s a meditation on the chaos of our self reflected in the song’s structure. According to Pecknold himself, “the beginning presents a question that is briefly solved and then there’s this sort of ecstatic burst of energy at the end like enlightenment or something and then it all kind of cracks up but in this really ecstatic way and then it kind of closes into closeness.” It might seem like a wonky explanation coming from the man who penned such evocative lyrics, but that’s the beauty of the music he helped create.

Crack-Up reveals a depth of humanness in our lives that might seem mundane if described any other way. Each track on here is worthy of praise in its own way, tied by the sentiments that bind us all. Fleet Foxes are the tools to coax these sentiments out of us – and for that, I am eternally grateful.

 

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Crack-Up by Fleet Foxes

Five Songs For The Weekend – IV

A weekly series where we pick 5 songs that we think you’d like to listen to over the weekend

#1. 3WW by alt-J

alt-J could’ve stuck to their indie art-rock vibe for another album, and most fans would’ve loved the album nevertheless. But this gorgeous, subdued track sounds like nothing they’ve ever done before, while reminding the listener in subtle ways that this is the band so many of us fell in love with – the gentle folktronica, Joe Newman’s unmistakable voice all remain. Few bands do esoterica that remains immensely enjoyable like alt-J does, and this track gives us plenty of reason to be excited for Relaxer. 

#2. Third of May / Ōdaigahara by Fleet Foxes

It’s been 6 long years since Fleet Foxes came out with an album, and no band has quite been able to fill the gaps they left behind. But Third of May / Ōdaigahara makes the worth seem wholly worth it. The sprawling track is a poetic masterpiece, a meditation on life’s ups and downs in a musician’s voice, with a warmth that feels like the quiet woods on a cloudy day. The instrumental outro section might be one of the loveliest pieces of music Fleet Foxes have constructed, and it’s a great sign of the music to come.

#3. Meditation ft. Jazmine Sullivan, KAYTRANADA by Goldlink

Goldlink is master of the bounce – he’s been making dance-floor rap for a while now, without having to resort to generic trap or club bangers. Meditation is mellower than his usual offerings, but thanks to a deep, bass-heavy instrumental by the incredible Kaytranda, it’s bound to get you vibing along nevertheless. Add in Jazmine Sullivan’s jazz vocals, and you have a smooth track more than worthy of a dance.

#4. Liability by Lorde

After the upbeat and bittersweet Green Light, the piano ballad that is Liability is a tidal wave of insular melancholy. It wears its sadness on its sleeve, exploring parts of Lorde’s psyche that she herself admits to have not written into her music before. As with so much of her music, it feels like it’s written for her audience as much as for herself. This is beautifully simple, moving song – if Melodrama sounds like this, it will cement Lorde’s status as one of the best musicians of our generation.

#5. Red Mercedes by Aminé

Red Mercedes is definitely not the song you’d have expected from Aminé after Caroline – this is a more traditional rap track in terms of melody, but it certainly retains the light-heartedness of the first track, albeit with an audible sneer post the success of Caroline. Aminé’s flows on the track with ease, the grimy production appropriate for the track’s mood. It’s going to be interesting to see where the budding artist goes next.

 

 

 

 

Five Songs For The Weekend – IV