The last that we heard form Iron and Wine was the six songs comprising Woman King released in 2005. What distinguished Woman King from its predecessors was the deepening integration of spiraling, dense opuses with intimate confessionals.
On The Shepherd's Dog this integration is complete. Compositionally, it is Iron and Wine's most ambitious and accomplished recording to date. It’s also the most satisfying. While many of us learned of Iron and Wine by way of Sam Beam's tender and spare rendering of The Postal Service's "Such Great Heights" on the Garden State soundtrack, those who dug deeper discovered a classic American tunesmith with a precocious musical signature. Songs like "Lion's Mane,” "Jesus the Mexican Boy" and "Naked as We Came" are remarkable demonstrations of craft; musically memorable, lyrically evocative and casually atmospheric. The arrangements on The Shepherd's Dog are kaleidoscopic and rich. "White Tooth Man" rocks with a desperate, menacing intensity while "Boy with a Coin,” the album's first single, is darkly playful with a handclap hook tumbling under its cascading melody. The whole album breathes. Its seductive rhythms percolate and undulate, and taken as a whole, The Shepherd's Dog is informed by a sensuality that brings a dreamscape to life. Visit IronAndWine's page at SubPop.com for news and tour dates! Listen to "Boy With a Coin" (mp3) |
Theme: Boy With a Coin (listen to the song!)
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