Fleet Foxes – Helplessness Blues

Almost from the initial chords of ‘Montezuma’ you can tell that Helplessness Blues, the follow up to Fleet Foxes critically acclaimed self-titled debut, is a different animal. It is a simple, stripped down and honest track, lyrically about Robin Pecknold, lead singer and songwriter, and his introspective observations, commenting on the ‘man that I used to be’. The vocal harmonies, a foundation of many of the Seattle quintet’s songs, are still there. They raise seemingly simple arrangements into all-encompassing angelic prophecies; the power of Pecknold’s message as he sings ‘could I wash my hands of, just looking out for me?’ is amplified tenfold by the accompanying backing vocals. Sincere and straight, he addresses his faults here, seemingly baring himself in the first track.

This theme clearly bares a considerable weight on Pecknold, as his intensity in recording the album reportedly cost him his health, as well as a long term relationship. However, by incorporating introspection into his song-writing, Pecknold has created a glorious album. ‘Bedouin Dress’ forms from a simple beginning, leaves you swaying to a viola lead section before soaring into a union of strings and vocals. In recruiting new multi-instrumentalist Morgan Henderson, previously of Blood Brothers, Fleet Foxes have added an instantly noticeable new dimension to their sound, as well as a more than able live musician to join them on stage. ‘Sim Sala Bim’ makes the earth shake as it hits. The rattle of tambourines and clapping drumsticks, lend a real rhythm to the track, summarised in the eruptive riff which sees the song out and over the horizon in an acoustic explosion of Zepplin-esque proportion.

The more predictable ‘Grown Ocean’ and ‘Battery Kinzie’ still stomp along enjoyably, despite being weaker tracks on the album. ‘Grown Ocean’ particularly, as a single from the album, has this feel that if Kings of Leon had released it, it would be plastered all over the radio and adverts for Christmas gifts. It is with ‘Helplessness Blues’, however, that the LP reaches its magnum opus. Here, Pecknold addresses his selfishness directly, even pleading for a cause beyond his own needs. The guitars once again build gloriously, the united vocals work seamlessly and the song slows to an earnest end.

Fleet Foxes have made great creative strides through introducing new song structures, such as the two movements found within ‘The Plains / Bitter Dancer’. It begins with a magnificent soundscape, music straight from a western stand-off, before seamlessly turning in on itself and shifting (more than once) ending with a familiar foot stamping outro. ‘The Shrine / An Argument’, another combination of a song, is glorious in its delivery. Beginning in a warm haze, the mood quickly descends with Pecknold stretching his voice as he cries ‘sunlight over me no matter what I do’. The finger picking turns into the chugging chords of the ‘Argument’ movement. The song then simmers into a startling free-jazz section, just for kicks. Well outside of their comfort zone, the tried and tested, Fleet Foxes have perhaps written their best song to date.

Helplessness Blues teams self-deprecating magnificence with glorious musicianship, taking a bold step away from not only the man Pecknold used to be, but towards a new, even better Fleet Foxes.