Wincing The Night Away [CD]

This is the downer album The Shins have always promised, a delicate and beautiful end of the relationship album, but one that's more expansive than their previous releases. It reminded me a little of Beck's Sea Change, but the influence here is British 80's sounds of The Smiths, Echo and The Bunnymen or The Cure. The 60's psych influences are still there too, surf drums and shiny harmonies, but the little synthetized touches, strained strings and electronic beats help bring out the maturity of the song writing. A joy.

"Wincing the Night Away" is the third full-length album from this great pop quartet. While the two earlier records came in under thirty-four minutes, this new release, which includes eleven songs, lasts 41:50.

James Mercer, the songwriter, is very highly regarded for his musical facility, less so for his thematic depth.
In that regard, the melodies on this album are generally on a par with the nuggets that came out before. Moreover, the Shins also know how and when to add muscle and to release the purple haze. And do not make a mistake: this is a very delicate alchemy.

On the other end, the lyrics are more opaque than ever. Although in line with the widespread indie fondness for cryptic poetry, I think that they stem from James Mercer notorious feeling of insecurity. In many instances, the lyrics are so undecipherable that one can only understand them after reading what he said about them (a case in point being "Phantom Limb" and its couple of lesbians.) I am under the impression that the lyrics sound laboured.

During the three years elapsed since their sophomore album, Mercer felt the pressure to come with an album satisfying the expectations his surprise classic had created and also to keep his music fresh. He seemingly did spend a lot of time with synthesizers in his home studio (the album title hints maybe at this.)
Neither a move backwards nor a radical departure the album is a mix of quintessentially Shins songs and tracks that take their sound in subtly or not so subtly different directions.

On most of the tracks, various keyboards, strings and miscellaneous sounds, wash the guitar lines. In addition, Mercer's voice is often multi-tracked, echoed or otherwise "treated."

Producer Joe Chiccarelli (Beck, U2) and engineer Phil Ek have brought a slicker, more spacious production style to The Shins' sound. Any tendency towards lo-fi is gone.

I feel that there is a definite move towards "progressive" music although the group has sufficient good taste as to avoid any trace of prog grandiosity.

This time, the Shins' love of decades past has changed perspectives. On parts of the album, the feel evokes the 80's rather than the 60's (although the latter component is still there.) On other parts, the sound is steeped firmly in the current indie scene.

The first track, "Sleeping Lessons", sees a soft vibraphone arpeggio immediately followed by a burbling keyboard sequence and an aggressive, processed voice.
Later on, the guitars get into action; the drums are pounding whilst the voice, now overdubbed into several parts, reaches for its upper register. But almost as soon as the tune gets loud, it goes into a slow fade.

"Phantom Limb", the single, is closest to their earlier songs, with its banging tambourine, strummed chords, and soaring falsetto lines.

"Black Wave" is another standout, a stark ballad with chilly layers of electronic textures surrounding James Mercers plaintive vocals. "Split Needles" continues this dark, dreamy, fractured synth-heavy feel.

"Australia" has a pretty refrain while the guitars are reminiscent to me of the 80's jangle rock from REM.

On "Sea Legs," guitars and multiple voices intertwine but the song's faintly hip-hop backbeat firmly plants it in the 21st century. And while "Girl Sailor", with its picked, quavery guitars has overtones of the Kinks' music, its guitar effects places it in the here and now.

In the end, I think that the long period of work has been musically profitable to the band and I find this album is excellent. Moreover, the group proves that it can successfully grow out of a mould and this augurs well for the future.

A huge record collection? Stuff you haven't even played? ....and then you bung one on just to see if it's worth a listen. This has become my favorite. There's always something new you discover on every play as well as the lyrics and sing-a-long melodies you're expecting.
This is no one night stand but a real obsessive love affair.
Thanks, David.