Even long-time fans of Iron & Wine, who have observed as Texas-based folkie Sam Beam has taken in more rock and country influences on his past two discs, couldn't have seen this album coming. Up to now, Beam has been known for his mellow vocals and gently strummed guitars, making the kind of folk Nick Drake perfected three decades ago. With this new album -- The Shepherd's Dog -- Iron & Wine finally establishes itself as a unique creative force, combining unusual production and adeptly-layered instrumentation to bolster the already compelling song-craft expected from the hirsute Austinite.
Glimpses of this new style were heard on The Woman King, Iron & Wine's 2005 EP. The Arizonian country-rock crew Calexico also brought some interesting musical counterpoints to Beam's tunes on their split-disc EP from the same year. Not until this remarkable release, however, has Iron & Wine so deftly merged so much instrumental and textural variety to his simple, yet evocative songs.
"The Devil Never Sleeps" jumps out as an immediate favorite, with its propulsive rock beat and almost boogie-woogie piano lines developing moods and timbres unheard on any previous release. Aping Wilco circa 2004, Beam croons on this track that there's "nothing on the radio." We can only hope gems like this one from The Shepherd's Dog get the airplay they deserve and prove him wrong.
"Peace Beneath the City," the next track, strikes a different, although equally impressive, mood with its intricately-layered guitars and reverb-drenched vocals. It still has that trademark dusty Americana Iron & Wine feel, but adds a dark, almost menacing edge that could provide the soundtrack to some real trouble-making.
"Love Song of the Buzzard" uses layers of Latin percussion that, despite providing a driving beat of their own, seem to blend almost platonically with the acoustic strings and organ chords that drive the song. Add to that the gentle yet moving vocal melody Beam lays down and we have another highlight of this remarkably consistent LP.
Despite its noteworthy highs, however, The Shepherd's Dog hits a few snags along its 50-minute duration. With all its experiments with timbre and production, the more traditional straight-forward numbers feel a little disappointing. "Boy With a Coin" would feel at home on Our Endless Numbered Days, Iron & Wine's previous album, but that's not exactly a good thing. The song does feature a reverse, Revolver-style guitar solo as a coda, but it feels slightly gimmicky against the earthy textures that the track establishes from the get-go.
The more out-there production occasionally falls flat as well. "Wolves (Song of the Shepherd)" is dominated by self-indulgent guitar solos, one featuring a wholly unnecessary wah-wah effect. Once minute three of the solo rolls around, Beam's mellow vocal presence is heartily missed.
The Shepherd's Dog is one impressive album, far eclipsing anything Sam Beam has put to wax thus far. Its studio wizardry is ample, but well under control, pro=viding Beam's mellow folkiness with enough contrast to please old and new fans alike.
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