Grade: 89% (B+)
It took Fleet Foxes a while to record their follow-up to their excellent self-titled debut. Frontman Robin Pecknold has admitted he was trying to get away from the pop-harmonies that dominated their first record and record their newest one almost entirely live. Moving towards these goals took longer than he anticipated apparently. But like their peer Bon Iver, Fleet Foxes was able to follow up an excellent first album with an almost equally as good sophomore effort.
From the start of "Montezuma"'s guitar work, you can sense that this record will be different than Fleet Foxes. While the harmonizing is still there, it is not there in same penetrating and soaring fashion as on the debut album. Lyrically, the album is more mature than their first, touching on more real world topics. The album title is a mere reference to this fact. When I hear Helplessness Blues, I think of a collection of songs reflecting on a multitude of topics. Maybe this is because the term signals my brain to think of a "blue" state of mind rather than a quick case of "the blues." Or maybe it's exactly what Pecknold and the band wants you to think.
On "Bedouin Dress," he sings, "the borrower's debt is the only regret of my youth," as the band expands their use of multiple instruments. Smooth and thought provoking lines like this, and many others, are littered throughout this record. There are still classic lyrical moments from the first album however. On the anger-infused folk power jam "Sim Sala Bim", Pecknold sings frustratedly, "what makes me love you despite the reservations?" and follows that line shortly after with a muted, "remember when you made me comb your hair?" before finishing out the song by venting his vexations with his guitar.
The title track has the strength of "Your Protector," in addition to the new phase of lyrical maturity. While "Ragged Wood" was the longest of their debut at just over five minutes, three songs surpass the five minute mark. "Helplessness Blues" takes advantage of this extra time as it builds into a powerful bridge and is bookended by two of the best lines on the album.
On some songs, Pecknold is the clear leader and inspiration, with his fresh acoustic guitar takes gliding into the entrance of the rest of the band. On others, the songs are driven by a collaborative effort and supported, of course, by the strong harmonies. This collusion is best exuded on "The Plains / Bitter Dancer." The song is ingeniously split into two, both by name and sound. The opening instrumentation makes one picture the rolling plains of the midwest, with its windy harmonics and melodies, while the second half's lyrics are wrapped around both the story and image of a dancer who finally, and bitterly, obliges to step forward by the end of the song.
Considering that their debut had a cohesive style to it, Helplessness Blues doesn't have a core theme or feeling to it. Each song seems to be coming from a different inspirational source and therefore takes on a different form. "Lorelai" is a buoyant and bouncing train ride that could have been the first waltz of Anastasia at her wedding. At eight minutes, "The Shrine / An Argument" is the records longest song, and like the aforementioned "The Plains / Bitter Dancer" is split into two parts, with both being musically substantial. "Grown Ocean" serves as an excellent closing song, with it's repeating guitar supported by strong lyrics which are backed by the harmonizing of the rest of the band. It closes with the quiet harmonies of the band, singing, "why'd I leave her? always going…"
While it is well written and assembled, Helplessness Blues lacks the amount of stand out moments of Fleet Foxes, which is a testament to how good the latter truly was. Instead, this record is a playlist of strength and perseverance. While this description might not suit a casual listener, it certainly entertains someone looking to add twelve good songs, including a few great ones, to his/her library.
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