Posts Tagged ‘Robin Pecknold’

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Fleet Foxes have shared a new video for “I’m Not My Season” off their latest album “Shore”, which was released digitally last fall via Anti-Records and will be released on all physical formats on February 5th, 2021.

Shot at St. Ann & the Holy Trinity Church in Brooklyn, NY, the performance was filmed as part of ‘A Very Lonely Solstice Livestream’ in December 2020 and the video was directed by longtime Fleet Foxes collaborator and frontman Robin Pecknold’s brother Sean Pecknold.

Fleet Foxes’ Robin Pecknold will commemorate the release of Shore on vinyl & CD at independent record stores with a virtual in-store performance, streaming on Wednesday, February 10th at 6pm PT / 9pm ET. Fans can get access to the mini solo set by pre-ordering the album now at their local indie retailer, or by purchasing ‘Shore’ in the store or curbside on the weekend of its release, ‘Shore’ is available on an exclusive crystal clear 2LP vinyl set at independent record stores only. A limited edition Fleet Foxes art print is also available by Bailey Elder. 

Praised by critics upon release, “Shore” topped year-end lists placing on numerous lists including The New Yorker, NPR, Pitchfork, USA Today, Stereogum, Rolling Stone, and more stateside.

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Perhaps no song on Fleet Foxes’s excellent 4th LP, “Shore”, illustrates the album’s concept of celebrating life amid our inner demons’ best attempts to thwart it quite like “Can I Believe You.” Singer Robin Pecknold literally talks to his mind about the struggle to communicate with his own thoughts, impulses and anxieties and in vintage Fleet Foxes fashion, that conversation is washed in bucolic beauty. On an album that Pecknold produced on his own throughout the COVID-19 pandemic, he found incredible ways to involve his band and collaborators. On “Can I Believe You,” it’s an edited megamix chorus of 500 fans on Instagram who sent clips to Pecknold of them singing the hymnal. It’s a gorgeous and thoughtful representation of how strange, but still magnificent, making music in 2020 can be.

Fleet Foxes released their fourth album, “Shore”, on the Autumnal Equinox. With this in mind, it’s hard not to hear it as a perfect fall companion, and especially the fall 2020 companion. It’s music that’s vibrant and full of life in a climate that has been harsh and dreary and full of let-downs. Robin Pecknold’s vocals are strong and hopeful, opening up a new blue sky for the days to come. The band has grown a lot through their career, and Shore reads like they’ve brushed off the unnecessary bits that might have held on from past albums, resulting in tracks are strong from beginning to end. “A Long Way Past The Past” shines as a standout track, carrying through Pecknold’s Laurel Canyon folk-inspired harmonies and beautifully blended guitar and horns. As Pecknold sings, “And oh man, was it that much better then? We were left alone, we were proud of our pain,” he has a moment of reflection—what seems so hard now might not feel so bad later. 

“Can I Believe You” by Fleet Foxes from the album ‘Shore’, available now

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Fleet Foxes have annouced the release of their surprise new album titled ‘Shore’.  The album news was shared today (September 22nd) to mark the beginning of the autumnal equinox. It was first teased with posters displayed around Paris at the weekend. ‘Shore’ follows the band’s 2017 album ‘Crack-Up’, and was recorded in New York, Paris, Hudson, Los Angeles and Long Island City between September 2018 and September 2020. The band’s fourth record features contributions from Uwade Akhere, Hamilton Leithauser, Grizzly Bear’s Chris Bear and Daniel Rossen, Kevin Morby, and others

“I see “Shore” as a place of safety on the edge of something uncertain, staring at Whitman’s waves reciting ‘death’,” frontman Robin Pecknold said of the new album in a statement. “Tempted by the adventure of the unknown at the same time you are relishing the comfort of the stable ground beneath you. This was the mindset I found, the fuel I found, for making this album.”

The album comes complete with an accompanying film, also entitled Shore. It was shot in Washington, Oregon and Idaho on 16mm film by Kersti Jan Werdal. “I listened to the album while driving, and observationally shot landscapes that I felt resonated with the music, yet also stood on their own,” Werdal explained.

“The film is intended to co-exist and engage with the album, rather than be in a direct and symbiotic relationship with it. The urban and narrative scenes interact with the more surreal landscapes, rather than sit in opposition of one another. My hope is that the film, much like the album does, reflects optimism and strength.”

Speaking of the new album, Pecknold added: “Since the unexpected success of the first Fleet Foxes album over a decade ago, I have spent more time than I’m happy to admit in a state of constant worry and anxiety. Worried about what I should make, how it will be received, worried about the moves of other artists, my place amongst them, worried about my singing voice and mental health on long tours. I’ve never let myself enjoy this process as much as I could, or as much as I should. “By February 2020, I was again consumed with worry and anxiety over this
album and how I would finish it. But since March, with a pandemic spiralling out of control, living in a failed state, watching and participating in a rash of protests and marches against systemic injustice, most of my anxiety around the album disappeared. It just came to seem so small in comparison to what we were all experiencing together.

“In its place came a gratitude, a joy at having the time and resources to devote to making sound, and a different perspective on how important or not this music was in the grand
scheme of things. Music is both the most inessential and the most essential thing. We don’t need music to live, but I couldn’t imagine life without it. It became a great gift to no longer carry any worry or anxiety around the album, in light of everything that is going on.”

Fleet Foxes’ last album, 2017’s ‘Crack-Up’, was given the four-star album review, writing: “Some may be unconvinced by the ambitious leap Fleet Foxes have made on album three, but there’s really no doubting the first-rate intelligence behind this uncompromising and ever-changing piece of work.” Pecknold:  I wanted to make an album that celebrated life in the face of death, honouring our lost musical heroes explicitly in the lyrics and carrying them with me musically, committing to living fully and vibrantly in a way they no longer can, in a way they maybe couldn’t even when they were with us, despite the joy they brought to so many. I wanted to make an album that felt like a relief, like your toes finally touching sand after being caught in a rip current. I wanted the album to exist in a liminal space outside of time, inhabiting both the future and the past, accessing something spiritual or personal that is untouchable by whatever the state of the world may be at a given moment, whatever our season. I see “shore” as a place of safety on the edge of something uncertain, staring at Whitman’s waves reciting “death,” tempted by the adventure of the unknown at the same time you are relishing the comfort of the stable ground beneath you. This was the mindset I found, the fuel I found, for making this album.

Elsewhere in the statement, Pecknold wrote that, next year, the band will release nine more songs, “co-written from the ground up with [Fleet Foxes members] Morgan Henderson, Skyler Skjelset, Casey Wescott, and Christian Wargo.”

Fleet Foxes are to release their fourth studio album “Shore” . The bright and hopeful album, released via Anti-Records, for a February 5th street date. In addition to the album, a 16 mm road movie of the same name by Kersti Jan Werdal that showcases the landscapes of the Pacific Northwest.

Fleet Foxes: <i>Crack-Up</i> Review

It was reasonable to think we would never get another Fleet Foxes album.

After the band’s rustic self-titled debut took off unexpectedly in 2008 (eventually earning a Gold record for mega-indie label Sub Pop), frontman and core creative force Robin Pecknold poured himself fully into making its excellent follow-up, 2011’s Helplessness Blues. Then Fleet Foxes toured the world for a while, a process that seemed to take a toll on the band. Pecknold moved to Portland and dropped out of public life. His drummer left the band and became a star in his own right. Other members moved on to their own projects. A couple years ago, Pecknold popped back up as a student at Columbia University, then disappeared again. At some point, he took up surfing, apparently. With the future of Fleet Foxes firmly in his hands, Pecknold seemed ready, willing and able to check out for good.

Thank the heavens he didn’t.  Fleet Foxes third album, “Crack-Up”, is at once sumptuous and ambitious, a serpentine journey from the center of harmony-drenched folk-pop out to the edge of Pecknold’s brain and back. It is lovely, strange and generous, and ultimately a very welcome return for the Seattle band.

On Helplessness Blues, Fleet Foxes pushed back against the successful formula of their debut, expanding their palette and inserting some free-jazz skronk just because they could. Crack-Up, on the other hand, sounds like a band that has become perfectly comfortable with its wanderlust. The evidence comes early, as opening track “I Am All That I Need / Arroyo Seco / Thumbprint Scar” is three songs in one, evolving from yawning anti-tune to orchestral gallop to a collage of cozy vocal ooohs, sloshing water and found sounds.

Later, the band juxtaposes its bracing first single, “Third of May,” with a coda called “Odaigahara” that slowly drips with a sort of submerged desperation. “I Should See Memphis” is built out of insistent acoustic guitar, playful string arrangements and Pecknold’s Civil War and Muhammad Ali references, rumbled below his natural register. And “Mearcstapa” might be the album’s most curious track, with Pecknold singing inscrutable lyrics over restless rhythms and a mishmash of sounds.

These kinds of explorations might’ve sunk a Fleet Foxes album five years ago. Now, they hang together enough to counterbalance Crack-Up’s half-dozen classic, gorgeous gospel-roots hymns; the kinds of songs that have defined this band since it oozed from the gaps in a pile of old Beach Boys, CSNY and Simon & Garfunkel LPs just over a decade ago.

“Third of May” and “Fool’s Errand” and the title track, these are the faster, more urgent ones. The slower, sparser numbers include “Kept Woman” and “If You Need to, Keep Time on Me.” They are all paragons of songcraft, teeming with lush instrumentals, indelible melodies and the kinds of harmonies you expect to hear as you approach the pearly gates. There is perfection here in among the exploration.

Crack-Up is a collective effort, no doubt. These are skilled singers and players, up and down Fleet Foxes lineup. It’s Pecknold, however, who is blessed with not only an incredible songwriting gift, but also the unwillingness to sit still for very long. The latter took him away from music for a while, but perhaps that was necessary to recharge the former. It’s good to have him back.

Fleet Foxes Reveal New Single/Video, "Fool's Errand"

Fleet Foxes are preparing to release their third studio album, “Crack Up”, June 16th on Nonesuch Records. They’ve already shared an epic, 9-minute single, “Third Of May/Odaigahara” .

An altogether long disappearance might not have been on the cards for Fleet Foxes, but a couple of false starts, and front-fox Robin Pecknold eventually throwing up his hands and wandering off to get a college degree means it’s been around six years between drinks. Fool’s Errand (Nonesuch) is studied and carefully put together music, as has been their model before, although its widescreen approach is half a step away from the folkie undertones that were often present before. Keeping with the concentration on details that seems a hallmark, the clip was even shot on old-school 35mm movie film, just because it had the right feeling to it as well.

Now they’re back with another song, “Fool’s Errand” .

Fleet Foxes’ “Fool’s Errand” from the 2017 album Crack-Up. Video by Sean Pecknold & Adi Goodrich.

Album trailer for Fleet Foxes‘ new album, “Crack-Up” out 6.16.17. Video by Sean Pecknold.

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Fleet Foxes LP3 is almost here at last. Robin Pecknold’s acclaimed indie-folk outfit have announced their long-awaited third album, Crack-Up, out June 16th on Nonesuch Records. The record follows six years after the Helplessness Blues album , and almost a decade after debut. Robin Pecknold and company will release the 11-track effort from the band. the album title is inspired in part by an F Scott Fitzgerald essay of the same name .

Along with their album announcement,Fleet Foxes have shared Crack-Up’s epic lead single, “Third of May / Odaigahara,” along with a lyric video created by Sean Pecknold and Adi Goodrich. The track, in typical Foxes fashion, begins as a warm and inviting acoustic guitar- and piano-driven jaunt before taking a turn into expansive, even psychedelic territory.

On top of all this, Pecknold and company have unveiled a fresh batch of tour dates, including their first North American performances since October 2011. The band will start their international tour in the northeastern U.S.

Crack-Up is available for preorder now . Listen to “Third of May / Odaigahara” 

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While there’s been no official announcement of the new Fleet Foxes album this year, It will be their first since 2011’s Helplessness Blues, all signs are pointing toward a release very soon. Frontman Robin Pecknold has been suggesting at a new Fleet Foxes long player while also working on a solo album over the last couple of months and the band also reassured fans that they wouldn’t have to fly to an announced show in Ireland in July because “we’ll be doing a full world tour in 2017-18 .

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