At this point, "Garden State" (2004) is arguably more popular as a soundtrack than as a movie. Sure, the film has its moments; it resonates deeply with the 15- to 30-year-old demographic because it depicts difficult yet universal themes such as drug use, sex and rigid familial relations.
Tellingly, however, "Garden State" received a Grammy for "Best Compilation Soundtrack for a Motion Picture, Television, and Media," but it was snubbed at the Oscars. It seems appropriate then, that the artists and groups appearing on the indie-dominated disc have been enjoyed major mainstream exposure, and, consequently, success.
For no band is this truer than the Shins, who appear twice on the soundtrack and are even singled out in the movie's script as life-changing.
At the time of their appearance on that album, however, the Shins had already recorded two albums worth of music. Needless to say, the surmounting popularity provided by their association to "Garden State" has made their third release, this Tuesday's "Wincing the Night Away," one of the most anticipated of the waxing year.
Originally formed in Albuquerque, NM in 1997 and since relocated to Portland, OR, the Shins have come to be known for atmospheric and wistfully melodic pop through their critically acclaimed work on previous LPs "Oh, Inverted World" (2001), and "Chutes Too Narrow" (2003).
"Wincing" marks a slight departure from the Shins more soft-spoken instrumentation. Both "Chutes" and "Oh, Inverted" were considerably more acoustic-minded than the band's latest, edgiest and most experimental release to date.
The previously timid-sounding Shins seem more confident than ever on opening songs "Sleeping Lessons" and "Australia," which combine a driving, distorted guitar with lead singer James Mercer's echoic voice instead of the band's usual softer string sound, providing a more engaging experience. While the vocal harmonies of the Shins' last album were pretty lackluster, their adept implementation on these songs increases aural pleasure.
Although the Shins newfound affinity for increased instrumentation may at times be a benefit, the band is a bit too gung-ho at times on "Wincing," saturating some songs with synths and strings and achieving nothing more than compromising its efficacy.
Examples of this saturation occur later in the album on "Sea Legs." Composed around some rather funky drum tracks from producer Phil Ek, the song's fine use of texture is overshadowed by kitschy use of strings and an unfitting flute.
On "Split Needles," a similar thing occurs. The base of the song is a highly stylized drum track and trebly guitar lick, which by themselves are engrossing. The addition of domineering synths and Mercer's unfitting vocals ruin "Needles," with the song's musicality negated by sonic clutter. With "Sea Legs" and the more experimental "Pam Berry," Mercer's voice is often drowned out by the clamor.
For a band whose lead singer's voice has become so recognizable, and whose popularity has been predicated upon not only exposure from "Garden State," but also the nostalgia and emotive properties of its music, evolving too fast can be dangerous. The fact that Mercer's vocals cannot conform to and are even overpowered by some of the Shins' instrumentation should suggest that they're going too far astray from their natural sound and overstepping their current stylistic limitations.
Eventually, the album rebounds towards the end with the coupling of "Girl Sailor" and "A Comet Appears," representing and almost realizing the band's potential. "Girl Sailor," along with "Turn on Me," is a mature Jesus and Mary Chain- or Cure- influenced update of the Brian Wilson-inspired psych-rock that appeared on the Shins' first two albums. The clincher, "A Comet Appears," is impeccably composed. Although it is not as innovative as songs like "Red Rabbits," it is easily some of the Shins' most impressive material similar to their earlier, less intense style.
The popular legitimacy that the Shins have gained from their "Garden State" fame has enabled them to explore their capabilities and experiment with their music. Although it is good that the band has decided to do this, they have had mixed results; the fruition of their experimentation ranges from accomplished to just plain sloppy.
On "Wincing," the Shins seem to be at the junction of success, stagnancy and failure. Although they may have missed the mark with this album, they still have a bright future. "Wincing" is the Shins' last release on the Sub Pop label, and, if the band's widespread appeal is any indication, a major label will certainly court the band. Although "Wincing" won't "change your life" (in the words of "Garden State"'s Sam), fans of the Shins have much to look forward to.
