Fleet Foxes and Sufjan Stevens’ new discreet albums


Patel auction: When you say that [Fleet Foxes] appeals to everyone’s tastes – in the absence of all hope, do you have a sound idea of ​​why?Ryan Dombal: Yeah, I think that’s the kind of music that older people probably sound like. Because it sounds like things you might have known from your youth, stuff like the Beach Boys, Simon & Garfunkel.

And then for the younger ones, maybe our friend Matt Strauss can talk about it a little more?

PP: Does this imply that Matt is younger?

RD: Yes of course.

Matthew Strauss: I think that could be the implication.

RD: Also just more informed than me when it comes to the foxes of the fleet!

SP: Yeah, speaking as a former kid who listened to Fleet Foxes; I think I was 17 when Blues of impotence came out, so I could definitely feel helpless. I vividly remember being in the car one day with my mother and putting on the track Blues of impotence, and trying to go line by line with her and say, “No, it’s, I mean, it’s so deep. It’s such a good song. Do you see what he’s saying? And I still feel that.

But it didn’t say, “Oh yeah, I remember the Beach Boys or the Byrds. It was just completely new and different, and it felt like something that, as Ryan alluded to, had lyrical or intellectual weight. At least more than who, at least in hindsight, would be a bit of the comedic peers of the early Fleet Foxes, like Mumford & Sons or Lumineers. Bands that aren’t really taken seriously, but could be on the same Spotify playlist as Fleet Foxes.

PP: I mean, they’re extremely successful, if not more successful than Fleet Foxes.

Made [Shore] looks like what you expected? What was your expectation and where did it land?

SP: That’s a good question because the band’s comeback album Crack-Up sounded, I think, very different than I or someone else could have hoped for. It was much darker. It was much more complicated musically. Much more depressed, in a good way to be quite realistic. Mostly go back and listen [Fleet Foxes’] the first few songs, it’s almost like they don’t have any meaning for what they’re singing. And now you have these tangible moments.

The one that I think about all the time since Crack-Up is on the song « I should see Memphis« where Robin Pecknold sings:

[“I Should See Memphis” plays, “Endless vacation, felt like perdition”]

Fast forward three years later when we’re all in this never-ending weekend, it’s just a really nice verse summing up what it feels like to go through life without really knowing what to do with it.

And so, I might have expected them to go deeper into that direction on the new album, but I think it actually comes down in some ways more to the vibrancy of old music.

The second song is called “Sunblind”. On this song, Robin Pecknold sings swimming.

PP: Can you imagine swimming? It looks tasty.

RD: Where does he swim?

SP: You know, that’s a great question.

PP: It must be nice, Robin.

SP: According to the song, it’s in “American water”. So that reduces to 50 states.

If you follow his entertaining and prolific Instagram, it looks like he has taken to surfing or has always been surfing.

PP: He’s had a real shine lately, it’s like, the last few years.

RD: What’s happening on her Instagram?

SP: There was a highlight that I was watching recently where he played around with the Pitchfork filter for a while. The one where you hold it in front of your face and give you a Pitchfork score. He kept getting 6 and worse and was pretending to be quite upset. It comes from someone who has only ever gotten “best new music” on their new releases, at least on their first albums. And so he even tried at one point to play a song from Fleet foxes and we still gave him something like a 5. So he’s great fun.

PP: By “us” you mean the algorithm, this filter created by some fans.

SP: I don’t know who made the algorithm – I would like to think it was you, Puja.

PP: Well I have a 3.8 on it, so …


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