Spring has arrived. The sun pours through the sky. Pollen blankets the surroundings. The streets suddenly become more occupied. Much has happened in the world since last spring. Even more has occurred in the five years passed since we were last offered a new album from The Shins, a band whose spring-like sound sonically reflects the seasonal transference.
In the world of James Mercer, the leading creative force behind The Shins – and sole remaining member of his band – those years were industrious. With time on his hands apart from The Shins, Mercer endeavored with Danger Mouse, releasing two albums under the moniker Broken Bells, fired his original drummer, Jesse Sandoval, and created his own record label, Aural Apothecary.
By now, The Shins have been solidified as one of the new millennium’s definitive indie rock bands, with exposure credit due to their friends and early tour mates Modest Mouse. In fact, it’s Modest Mouse drummer, Joe Plummer, who replaced Sandoval behind the kit for both the latest recording and tour of Port of Morrow.
This latest release from The Shins reflects the sort of busy lifestyle Mercer seems engaged in. Featuring more electronic instrumentation than prior Shins albums, and sleekly polished production, it appears Mercer has learned a few things along the way. Greg Kurstin, collaborator and co-producer alongside Mercer (whose repertoire includes work with The Flaming Lips, RHCP and Foster the People) lends his ear and efforts to the spacey sophistication of Port of Morrow.
However, at the core of each of these ten tracks exists the familiar structuring of Mercer’s jangly pop formulas. One of the secrets behind the frontman’s crafty compositions is his talent not only as a songwriter, but storyteller as well. Behind each textured tune weaves a tale, spun through introspective depictions told through Mercer’s delicate vocal nature.
Sometimes the best quality of a Shins’ song is the contradiction between tonal aura and lyricism; melancholic themes are disguised by bright, bubbly psych-pop melodies (“No Way Down”), while more somber numbers relay messages of hope and inspiration (“It’s Only Life”). Then there’s “Simple Song”, the appropriately titled lead single. It’s catchy and clap-worthy, yet could lose shelf life far before the album in its entirety.
The light complexity of Port of Morrow makes this a great record to skip through the breeze to. Take it easy, open the windows and give this a spin. It will grow with little time, perhaps fade into summer, and find itself wedged in your sunny-day listening ventures. Nothing groundbreaking here folks, but The Shins were never about that. Such ease is what makes them so authentic, while other bands work too hard striving for such effortlessness. Seemingly, The Shins take it as easy as it sounds.
