Sub Pop, 2007

I have this friend, and for anonymity’s sake, let’s call him Tim. What seems like eons ago, Tim had been very vocal about how much he anticipating the new Iron & Wine album, and when it leaked months before its September 25 release date, he told me all about it; how much he loved it. In fact, I believe some of his words were, “You gotta here that new Iron & Wine, that shit is crazy!” Tim has a way with words.

Sam Beam’s (aka Iron & Wine’s) first couple of albums were breezy southern post-folk songs that were as beautiful as they were understated. Yet, on his 2005 EP Woman King, something changed. Beam’s sound became tempered with heavy rhythm, and with The Shepherd’s Dog, it has even incorporated a pseudo-60’s psychedelic edge.

The first single, “Boy with a Coin”, is all jaunty hand claps and guitar melody, and is only rivaled by 2005’s “Woman King” in terms of shear enjoyment. It’s so good, that you’ll want to start dancing when you hear it. Don’t. This will lead to much embarrassment. Trust me on this one. Elsewhere on The Shepherd’s Dog, “Flightless Bird, American Mouth”, and “Resurrection Fern” are most like Beam’s earliest works with their plucked strings, and whispered promises. “Lovesong of the Buzzard” with its deep bass, and pitter-patter drums could be used in a Disney film (sans the lyrics, of course). Meanwhile, “House by the Sea” opens in dreamlike monotony before morphing to toe-tapping splendor.

I ran into Tim a few weeks after the 25th of September and he asked me what I thought of The Shepherd’s Dog. I felt it was a very good listen, but probably not as good as Tim did, and I really didn’t want to hurt his feelings. I turned my head away for a second, looked down at the ground, and then said with a slow smile, “that shit is crazy!” He replied, “Indeed.” Tim has a way with words.