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The standout is the six minutes of “A Simple Answer,” an optimistic spiral of synths and exhortations to “soldier on, but please not so long, this time.” The band gets increasingly elemental in “Gun-Shy,” with murmurs that “the sky keeps staring at me” and, later, “the cold keeps tearing at me.” Their world, it seems, has grown inhospitable. The band rediscovers “Ready, Able” beauty in “Yet Again,” with its swaying stacks of “oh-oh-oh” harmonies and exploratory percussion-a light, tasty morsel of the kind you wish there were more of on the album, though perhaps it’s uncouth to demand such pop from these artists.Ī nervous whisper of strings opens “What’s Wrong,” a slow, organ-soaked ballad that interrupts its introspections with interjections of “everything all at once” and “just go,” a certain kind of dejected tantrum. A signal of what is to come, though pleasing in timbre, in meaning they are somber.īuilding with determined drums, “Speak In Rounds” gathers before it bursts into prog rock twang, a strange sort of King Crimson creaminess, before breaking apart in cymbal crashes into the soft, spacey transition of “Adelma.” The band gathers together for “The Hunt,” with Daniel Rossen playing the role of crestfallen choirboy, wandering about jagged guitar strings and ruffled cymbals, singing of relationships lost and selves found, turning cutesy rhymes of “and I’ll leave it all as it should be / where you are you and I stay me,” wearied, and, in a way, wonderful. Gorgeous and frayed, the wandering begins with “Sleeping Ute,” an opener with the waking dream feeling of an all-nighter meeting sunrise, with Edward Droste singing off-kilter and mythic riddles of “those countless empty days left me dizzy when I woke,” amongst the slither and slurp of Daniel Rossen’s guitar.
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So, that is to say, Shields is a difficult, rewarding album-one to get lost in. Ethereal, harmonic, beautiful-but labyrinths nonetheless.