The New Hampshire

Issue date: 2/9/07 Section: Arts & Living

Media Credit: Courtesy Photo

Ever since Natalie Portman bluntly told us that the Shins would 'change our lives' in 2004's plucky romantic comedy Garden State, too many young, eager, indie-snob wannabe's have run out and purchased every Shins release. Patiently, they wait for the entire band to arrive in a pumpkin coach and present them with the glass slipper of musical obscurity. Unfortunately, they're going to be waiting an awfully long time. The Shins will not change your life, nor have they ever really intended to. Unfortunately for all the aforementioned "dreamers," The Shins have not really changed their tune on Wincing the Night Away. They play pop, they do it well, and the only promise their music makes is that you will smile, no matter what.

Though the band technically keeps this promise throughout, it appears harder for singer/lyricist James Mercer to stick to it this time around. He dabbled in a rather damning view of humanity in the latter half of "Those Who Come," the closer of 03's Chutes Too Narrow, but most of his lyrics have always reserved nothing but whimsical imagery and colorful wit to paint their pictures. However, on Wincing, there are severe signs of Mercer wearing down. Both a messy break up and an ongoing problem with insomnia sneak themselves into the songs (the latter inspiring the album title) between stories of clandestine lesbian romance ("Phantom Limb") and indignant sprites ("Red Rabbits).

Thankfully, the Shins' music is still nothing short of pure ear candy. Ever so subtly psychedelic synth lines and sound effects weave themselves throughout the band's trademark straightforward, semi-acoustic brand of lo-fi. Perfectly entwined in the soundscape is James Mercer's sugary tenor, settling for a prominence and energy somewhere between the monotone delivery seen on some of the band's debut and the at times overzealous performance on Chutes Too Narrow.

In fact, Mercer has made it a point to fluctuate frequently between his two trademark deliveries, creating much more of a variety in mood than seen in previous efforts, albeit with mixed results. The comfortable, relaxed tone used on the mid tempo plodder "Turn On Me" only serves to further the lackadaisical motif of the song. Likewise, his impassioned waverings on the more upbeat numbers like "Australia" add whatever small manner of intensity can be present in a Shins song. It is only on the oddball moments, example: "Sea Legs," where Mercer trips up, never sure whether he should be sing-speaking to us or reaching for the top of his range.

This uncertainty spills over into the production, more than likely the albums only true flaw. There are moments where the vocals, guitar, and synth all become unsure who is supposed to take the lead. The result is a rather blurry mix, almost too reminiscent of the sleepless nights being sung about. Overall, it isn't enough to halt the album's flow entirely, but it does teeter on unpleasant in a few isolated incidents.

All in all, Wincing the Night Away is a pretty tight package. Parts of it will be stuck in your head for days. It's fun to listen to. Hell, it's fun to listen to and it has SUBSTANCE. Garden State's bold proclamation isn't going to come true anytime soon, but don't let that keep you from this one. Promise?

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