This will probably be my last post for a couple of weeks. I’m off to New York and Boston on Sunday, and will be away from home for nine days. See you soon!
For years I avoided Iron & Wine. Plenty of people told me I’d like Sam Beam’s music, but I’m a stubborn little so and so, and so the more I was told I’d like him – the more I was told my own music sounded like his – the more determined I became not to give him a fair shake.
I listened to a couple of songs long enough to confirm that he sounded exactly like I thought he would (hushed, almost whispered vocals; delicately picked acoustic guitar; brushed drums), and then put him in a box where I didn’t have to revise my preconceptions. Derivative. A revivalist. Fine, but not necessary in a world where I could listen to the originators of this stuff. Who needs another bearded singer-songwriter? Not me, and I’m a bearded singer-songwriter myself.
To be fair to pig-headed 25-year-old me, there was more than mere stubbornness to this. I’ve always been concerned with not being tediously derivative in my own songs. When you’re a guitar-playing singer-songwriter, you have to do everything you can to cultivate your own voice, or what the hell is the point of you? I felt I should widen my listening as much as possible, inviting influences to seep in from everywhere else, to stop me becoming a pale facsimile of the music I love most. This didn’t preclude listening to singer-songwriters, but it did mean not actively studying them, and it made me especially fearful of artists who wore their own 1960s and ’70s influences too obviously, lest I just become a copy of a copy.*
And so, 10 years or so after first hearing of him, I actually sit down and listen to the new Iron & Wine album all the way only to find it’s absolutely lovely and I’ve been missing out on a guy who does great work. Sure, Beast Epic owes a heavy debt to Nick Drake – Song in Stone sounds like a Pink Moon outtake being played by the band Drake had for Bryter Layter – but the songs are strong enough that Beam gets away with evoking his heroes.
The songs, in fact, are great. They’re built on mostly simple, comfortingly familiar chord progressions, are played with delicate assurance by Beam and his excellent band, and are full of solid, subtly hooky melodies. Helpfully, his soft voice has acquired depth and warmth in the last 10 years. He’s a proper singer now, not a hushed, Elliott Smith-style whisperer. Even better, the record sounds good, too: warm, earthy and woody. I can’t overstate how important this is to doing this kind of music well.
My favourites so far include Call It Dreaming, which has a glorious change to the relative minor in the chorus that induces an instant rush of nostalgic warmth in me (I’m not able to place what it’s nostalgia for, yet), the aforementioned Song in Stone, and Right for Sky, in which Beam’s melody winds its way through the well-chosen chords of the chorus, observing the piquant change to the parallel minor. Only Last Night, with its pizzicato strings and plinky percussion (like Andrew Bird, or a much gentler, much more rustic Tom Waits) differs markedly from the album’s sonic template, and it’s initially a bit of a surprise, but the clever arrangement works, as it takes the textures that are present in the other songs anyway, and just uses them a bit differently.
That said, it’s very early days for me with this album, and it wouldn’t surprise me if I ended up preferring other songs to the ones I’m most drawn to now. Anyhow, I love it when that happens; it shows an album has depth. I think I’m going to be listening to it a lot in the weeks and months ahead.
*25-year-old me was also scarred by 20-year-old me’s brief Ryan Adams fixation. I heard his stuff before I really properly listened to Dylan, Gram Parsons, Neil Young and Van Morrison, and once I knew the originals, it was hard to be impressed by Adams as anything other than a talented mimic, self-evidently not as talented as the people he was mimicking.