As well as leading the way for the recent spate of indie-folk acts such as our own Mumford & Sons and fellow north-westerners The Decemberists, Seattle’s Fleet Foxes have also done a very fine job of crafting their own brand of psychedelic folk-pop since the release of their eponymous debut in 2008. With their extensive use of choir-like vocal harmonies and more instruments than you can shake a stick at, the sextet have managed to create a plethora of warm sunrise choruses, heard in tracks like the conversely-titled ‘White Winter Hymnal’, which somehow capture a range of moods all drawn into one big melting pot of sound.
Three years on and Fleet Foxes, fronted by singer-songwriter Robin Pecknold, are back with their difficult second album – or not so difficult as the case may be. ‘Helplessness Blues’ is its name because, as the band confirm, “it’s kind of a funny title” or as they go on to explain, it summarises the album’s theme of “who you are and who you want to be or who you want to end up being, and how sometimes you are the only thing getting in the way of that”.
Fans of the band’s self-titled first effort will instantly recognise the familiar Fleet Foxes sound on their latest offering, so don’t expect any major deviation this time around. However, unlike on ‘Fleet Foxes’, the band have chosen to remove much of the folk-rock feel of their debut to make a more mellow and moody record. Not that this is in any way a glum release, but ‘Helplessness Blues’ certainly has its fair share of blues, although maybe not in the traditionally musical sense of the term.
Influences from genres that can be recognised here include elements of country music, not dissimilar to the kind of stuff that Neil Young has been known for in the past. Overall, however, is their ever-present brand of harmonic folk-pop that people will remember from ‘Fleet Foxes’. Notable examples of this include album opener ‘Montezuma’ with its graceful and distantly mellow quality and the tracks ‘Bedouin Dress’ and ‘Sim Sala Bim’, which display an acoustic folk style reminiscent of Simon & Garfunkel. Among the standout songs on ‘Helplessness Blues’ you will find the infectiously captivating ‘Lorelai’ and the dark and strangely diverse ‘The Shrine/An Argument’, which manages to shift between varying tones and styles throughout its entire eight minutes before a bizarre experimental jazz finale.
All in all, ‘Helplessness Blues’ is a fantastic album and a highly praiseworthy effort from the latest of Seattle’s finest. Anyone fortunate enough to be catching the band at one of their upcoming live dates will be pleased to discover another album of exceptional songs ready to be heard in all their live glory. Only at the second phase of their career and Fleet Foxes are back with another fine folk album to keep us happy for the foreseeable future.
Stereoboard Rating: 9/10
‘Helplessness Blues’ is due for release 2nd May 2011
We don't run any advertising! Our editorial content is solely funded by lovely people like yourself using Stereoboard's listings when buying tickets for live events. To keep supporting us, next time you're looking for concert, festival, sport or theatre tickets, please search for "Stereoboard". It costs you nothing, you may find a better price than the usual outlets, and save yourself from waiting in an endless queue on Friday mornings as we list ALL available sellers!
Influences from genres that can be recognised here include elements of country music, not dissimilar to the kind of stuff that Neil Young has been known for in the past. Overall, however, is their ever-present brand of harmonic folk-pop that people will remember from ‘Fleet Foxes’. Notable examples of this include album opener ‘Montezuma’ with its graceful and distantly mellow quality and the tracks ‘Bedouin Dress’ and ‘Sim Sala Bim’, which display an acoustic folk style reminiscent of Simon & Garfunkel. Among the standout songs on ‘Helplessness Blues’ you will find the infectiously captivating ‘Lorelai’ and the dark and strangely diverse ‘The Shrine/An Argument’, which manages to shift between varying tones and styles throughout its entire eight minutes before a bizarre experimental jazz finale. 
