Shearwater Jet Plane and OxbowStorm water jet aircraft and Oxbow
Play it through and view it tracks by tracks. Although it has a distinct 80 "s feeling, I think it has a more robust feeling than many records from that age.
I' m still listening to these old records, but with a kind of owed lust sensation. An example of a well processed record that will grow old well in the years to come. Favourite titles: Long gone. Frankly, I can't say enough good things about this record. If I keep my cross my thumbs crossed, the bands will come to Toronto sometime in the (not too distant) distant near-term.
Shearwater: Shearwater:: Oxbow and Jet Plane Album Review
When Jonathan Meiburg last composed live score for his long-time art-rock dress Shearwater, he adopted a reduced tone presented at Animal Joy 2012, stating that "no string or glockenspiel was affected in the making of this album". "Back then, Meiburg nursed a heartbroken soul and mounted in a rougher way than the magnificent "Island Arc" trio of his group, which consisted of the Palo Santo of 2006, the Rook of 2008 and the Golden Archipelago of 2010.
The Animal Joy album indicated an atmosphere of privacy behind the splendour of the Game of Thrones of the band's previous work. In addition, the amplification of early pulp and Laughing Stock-era Talk influence contributed to giving the Sub Pop record company a feeling of old-fashioned romance for the first in Jeremy Enigk's Return of the Frog Queen.
The Jet Plane and Oxbow marked Shearwater's second full length of footage for the Seattle veterans print after a 2013 Fellow Travelersthat compilation of cover art included copies of contemporary tracks such as Coldplay, St. Vincent, Xiu Xiu Xiu, Folk Implosion and fearless label mates of the Baptist Generalals. Meiburg follows Animal Joy's suggestion and moves nearer to Rock'n'Roll than anything this group has ever done.
Carillons are back (well, this one is a dulcimer), but they're staffed by former Redd Kross drummer Brian Reitzell, who has worked for the past two years as a score manager and movie composer, setting hits such as Losst in Translation, Friday Night Lights and The Bling Ring to sound, and de facto being a third member of Air.
Reitzell discovers his repertoire of keyboard, drums and various stringed hammers, giving Shearwater the 70mm feeling Meiburg always seems to have in his sights; only this times he has the man behind the wheel of the NBCs " Hannibal " album. Before Oxbow was published, Meiburg said in the media that it was an act of protests, and he has a very particular kind of act of protests in mind:
A pulsating rhythmical under current, apparently characterized by instruments like Hip-Hop and New Water, animates the cd. The smoother grooves replace the brute force of the long-time Shearwater drummer Thor Harris, who is missing unexplainably in this work. Song like "Backchannels" and "Filaments" sounds like Meiburg is ghost writing for Lorde, while "Quiet Americans" - with its big synths and larger hearts - seems to channel the Thompson Twins.
Ever since Shearwater came out of the ribs of the Okkervil River, it has always made great musical performances beyond the capacities of the club it plays. The Jet Plane and Oxbow feel like their moons are being blown out of this earth. During the whole length of the record Meiburg himself seems to be ready to bring the bands up and out and to risk the kind of straight lines of straight art you only meet when your ambition skyrockets.
Somehow they have turned these modest beginnings into something roomy and vast, invoked by the expensive limits of a million-dollar studios like Abbey Road or Electric Lady. The Jet Plane and Oxbow are not only the biggest statements the shearwater has ever made, but also the most profound.