Tag: iron and wine

Album Review: Who Can See Forever Soundtrack by Iron & Wine

Posted on by IRC Staff

We are huge Iron & Wine fans. Sam Beam is just phenonomenal songwriter, composer and musician.

So, it was a pleasant surprise to Iron & Wine’s November 17th as the accompanying live album to the concert film, Who Can See Forever.

The film is the first ever in-depth look into the life and music of the accomplished songwriter, composer and musician, Sam Beam, aka, Iron & Wine.

In a press release, Subpop Records writes: Who Can See Forever grew into a deeper study of its enigmatic subject as director Josh Sliffe spent more and more time on the road.

Shot over the course of three years, Sliffe digs into the myth and ethos of Iron & Wine through a series of interviews and unguarded behind-the-scenes footage that welcome the viewer into the center of Beam’s universe.

The soundtrack features more than two decades of Beam’s material recorded over a two-night-stand at the historic Haw River Ballroom in Saxapahaw, North Carolina.

Along with Beam, the band features bassist Sebastian Steinberg (Fiona Apple, Soul Coughing), drummer Elizabeth Goodfellow (Allison Russell, Better Oblivion Community Center), cellist Teddy Rankin-Parker and keyboardist Eliza Hardy-Jones (War on Drugs, Grace Potter).

Produced by Beam and recorded by his long-time live sound engineer Jelle Kuiper, the soundtrack was mixed by Matt Ross-Spang at Southern Grooves in Memphis, TN, and mastered by Richard Dodd in Nashville, TN.

The film will screen in theaters in select cities throughout 2024 before platforming to streaming services.

“All these elements work together to give the songs a new dimension, and whether they top the originals is beside the point; it is exciting enough to hear a band as good as this working with Beam in a live setting, taking chances and reaching deep inside the songs to extract shiny new gold.

It’s hard to believe it took so long for Iron & Wine to document their live incarnation, but it is easy to believe that now that they finally have, it’s as sophisticated, burnished, and emotionally true as this.”
★★★★ ALL MUSIC

“Following his muse wherever it leads him, Sam Beam has crafted Who Can See Forever with the kind of care that makes these 19 songs something quite special. He has changed the hues, but the heart and soul of these songs still shine through in ways that reveal what a truly special artist he remains.”
FOR FOLK’S SAKE

The “It’s a fine close-up, so sharp you can almost catch the dust glinting in the lights as Beam showcases his willowy, supple songs.”
MOJO

“The setlist is drawn from a discography now reaching back 20 years, and some of these songs have never sounded better, ‘Last Night’ a fabulous gothic country noir, ‘Thomas County Law’ resembling a Glen Campbell classic.”
UNCUT

“serves as an antidote to that kind of engagement and has a way of putting into focus just how much we’ve been overlooking Sam Beam’s genius.”
FLOOD

“This double LP refracts and reimagines Iron & Wine’s best-known songs with full, nearly orchestral arrangements realized in the warmth and immediacy of live performance. It’s a superb recap of Sam Beam’s artistic arc so far…”
DUSTED

Beam has always possessed an uncanny ability to transport listeners into intimate and emotive sonic landscapes. With the release of the Who Can See Forever soundtrack, Beam once again demonstrates his prowess in creating evocative and timeless music that beautifully complements visual storytelling.

The Who Can See Forever soundtrack is a testament to Beam’s enormous ability to craft a cohesive and emotionally resonant soundtrack. His songwriting remains as poignant as ever, creating a musical experience that transcends its role as a companion to visual storytelling.

Best Indie Folk Albums of the 2000s, Vol. I – Iron & Wine’s ‘Our Endless Numbered Days’

Posted on by IRC Staff

Artist: Iron and Wine
Album: Our Endless Numbered Days
Released: March 23, 2004

The game-changing 2004 album Our Endless Numbered Days made Iron and Wine an indie phenomenon, and stands as an enduring masterpiece, one that has continued to captivate audiences since its release in 2004.

Under the musical moniker of Iron and Wine, the enigmatic singer-songwriter Sam Beam crafted an album that transcends time, touching hearts with its delicate melodies, poetic lyricism, and intimate atmosphere.

This review explores the intricacies of an album that not only showcases Beam’s immense talent but also serves as a profound meditation on life and love.

Our Endless Numbered Days is an album that beckons the listener into a world of ethereal introspection. Beam’s voice is hauntingly beautiful, and his skillful storytelling elevates this album into a realm of its own.

The album opens with “On Your Wings,” a delicate introduction that not only sets the tone but showcases Beam’s talent for crafting deeply evocative narratives. The gentle plucking of acoustic guitars is a recurring theme throughout the album, creating a warm and intimate backdrop for Beam’s poetic musings.

“Naked as We Came” is an especially standout track on an album brimming with standouts – its haunting beauty underscoring the transient nature of life and love. Beam’s lyrics here are a bittersweet meditation on mortality and the ephemeral nature of human connection.

‘One of us will die inside these arms,’ Beam croons, and it’s impossible not to be moved by the depth of emotion in these simple words.

“Cinder and Smoke” introduces a touch of haunting intensity, with Beam’s vocals resonating like a mournful echo. The imagery in this song is vivid and powerful, with lines like “She will love you like a fly will never love you” painting a picture of profound, almost mystical, connection.

“Love and Some Verses” is the emotional centerpiece of the album, showcasing Beam’s ability to encapsulate complex emotions in simple, yet profoundly resonant, verses. This song is a poetic marvel, offering a deep exploration of love’s complexity.

“Each Coming Night” stands as an instrumental gem, with the acoustic guitar work exhibiting Beam’s understated virtuosity. The melodies here are both intricate and soothing, creating an almost hypnotic effect.

In “Passing Afternoon,” the album’s closing track, Beam leaves us with a sense of bittersweet contemplation. The song’s reflective tone serves as a fitting conclusion to this musical journey, leaving the listener with a lingering sense of introspection.

One cannot discuss “Our Endless Numbered Days” without acknowledging Beam’s immense talent as both a musician and a lyricist. His storytelling is nothing short of exceptional, and his ability to convey complex emotions with simplicity is a hallmark of this album.

“Our Endless Numbered Days is not merely an indie folk album of high repute; it’s a profound meditation on the human experience. Beam’s ability to craft poignant narratives and deliver them with heartfelt sincerity cements this album as a classic in the folk and indie music canon. It’s a testament to the power of music to touch the deepest recesses of the human soul.

This album is a must-listen for anyone seeking a musical experience that transcends time and genre, offering solace and reflection in equal measure. Our Endless Numbered Days is a timeless masterpiece, an intimate serenade to tranquility that continues to captivate audiences for years to come.

Beam’s musical legacy shines brightly through this album, reminding us of the profound beauty that can be found in simplicity and introspection.

New Bjork cover song from Rosie Thomas, Sufjan Stevens, The Shins and others

Posted on by IRC Staff

For her new Bjork cover of “All is Full of Love,” indie musician and singer Rosie Thomas enlisted an ‘indie’ all-star cast of guest vocalists for a virtual choir, including Sufjan Stevens, The Shins, Iron & Wine, Alexi Murdoch, Charily Theilen, Kanene Pipkin, William Fitzsimmons, Dawn Landes, and a bunch of others.

The cover track is off of the Lullabies For Parents Vol 1 EP, a “multimedia series of resources, entertainment, and encouragement for parents of all ages featuring music, podcast, videos, essays, assorted content and community that promotes finding common ground, connection, and comfort.”

The song is undeniably beautiful rolling through cycles of choir infusions. The problem is, however, that it is difficult to hear the full force of all of those voices as a listener would expect.

Nonetheless, and to be fair, unless you’re seeing the choir, or virtual choir, at the same time (like the famous Live Aid video from the 80s) then everyone’s voices pretty much get drown out, not to mention the music.

Perhaps one of the things that Quincy Jones did brilliantly with the song, and video, was to record them at the same time, in the studio. But even more than that, Jones realized the ‘drowning out’ effect and therefore had individual solos for a number of the top vocalists of the time – MJ, Bruce, Bono, Michael Stipe, etc.