Review Summary: http://i.imgur.com/X0TmjR8.png
I always found my love for
Helplessness Blues unexpected. I’d always associated folk with that idea of banjos being played by hippies (much to my stupidity). But, there was just something about it. It was just so damn
catchy. I had never experienced something so fulfilling in its ability to bring so much together to construct a focused piece of work. And although I never delved too much further into the genre, it stuck with me. I’d always smile when it came up on my various playlists, and find myself listening to the album in full shortly after. So, when ‘Third of May / Ōdaigahara’ was released, that smile I had returned. It’s everything that makes Fleet Foxes great and then some. Clocking in at nine minutes, the ebb and flow of the track is beautifully captured in the mountains of instruments thrown at the track, melding into this beautiful up and down led by Robin Pecknold’s incredibly unique vocals. What it displays best, however, is the overall feeling when listening to
Crack-Up; happiness. Everything is just so damn gorgeous, and Fleet Foxes know it; a cheeky smile that lies underneath all that encompasses
Crack-Up. And we smile along, happily knowing this is a band who’s place in indie-folk is all but cemented.
To say
Crack-Up is Fleet Foxes running at all cylinders would do both the band and the album a disservice; very rarely does an album sound so wholesome whilst also maintaining its humble nature. The way "I Am All That I Need" opens up incredibly quiet, before exploding with a foray of instruments, works incredibly well, bouncing off of each other with endless joy. The omnipresent vocals of Pecknold remain as captivating as ever, smoothing their way over the top of the ever-exciting ensemble of instrumentals Fleet Foxes throw our way. Though jarring at first, the transition from reserved to explosive becomes far more exciting upon further listens, and plays an integral part in the latter half of the song as the vocals overtake the song before being (literally) washed away as the song winds down. The album only picks up from here, as the more sing-along vocals of 'Cassius' play equally as well into the hands of the ensemble. The beautiful integration of wind instruments adds an extra layer to an already great song, and plays an important part throughout
Crack-Up, adding integral atmosphere to the album. Every instrument is integral to the experience, and plays an equally important, and subsequently elegant, part in the record.
The atmosphere of the record is what must be most admired, however; everything has its purpose, and isn't just left to be washed away one after another. The plodding bass line of 'Naiads, Cassadies' stays ever-present as the song goes on, even despite the beautiful ebb and flow of the guitars. The strings forever play an integral part in
Crack-Up, whether it be as the forefront ('Kept Woman'), or as more of a backbone ('On Another Ocean (January/June)'). They're masterfully played, and keep their own without overtaking the beauty of the surroundings they build. Even more straightforward songs, such as "Fool's Errand", meld so incredibly well into the album and the environment it portrays it becomes difficult not to smile and nod along. As the chorus switches the songs tempo, Robin soars over the top; "It was a fool's errand/Waiting for a sign". What makes all of this so wholesome, however, is the overall production for the album. Although recorded in several different locations, it doesn't show, and wouldn't feel out of place played loud at the top of a mountain. The echo of every little detail plays so well into the sound
Crack-Up so masterfully portrays, and brings forth a sense of heart and character without losing out on technicality. And even as the album begins to slow further down the line, Fleet Foxes still have a few tricks up their sleeve. The moodier cut 'I Should See Memphis' maintains a calm demeanour whilst letting the vocals soar low and the violins weave in and out, and album closer 'Crack-Up' brings it all together once more for a truly fulfilling, and equally exciting, finale.
What
Crack-Up does best is handle the pressure. The modern classic that is
Helplessness Blues left very little room for Fleet Foxes to achiever further greatness, but by god they did it. The scope of
Crack-Up is so immense, but handles it with a deft touch and a keen ear for melody. The way the instrumentals echo off of each other as if performed in a concert hall adds such an incredible amount of beauty to an already choc-full environment, whilst allowing Robin free reign to let his vocals grip you in various ways, whether it be his long, soaring notes or his lower, more reserved vocals. What's most important, however, is that this is Fleet Foxes associating themselves with perfection, and they sure as hell want you to come along for the ride.
