Lyrics tend to focus on angst and confusion, but they manage to be extremely relatable. On "Losin ya Head," Yames croons "Sometimes I get bored/ Even though I know I'm blessed," a lyric that most Americans can certainly relate to.
The only knock on the album is its sheer length. A lot of the songs are so similar in feel and sound that they could have easily been left on the cutting room floor. But each song on the album is a beautifully constructed masterpiece in its own right.
Most super groups fall apart because the artists' egos cannot co-exist. But the music that Monsters of Folk create is so laid back and groovy that it is impossible to even imagine anyone's feathers being ruffled during the recording process.
It could be said that this band is not a super group at all, but rather a bunch of friends who decided to make music together. Unlike most super groups — which are often composed of randomly assembled talent from diverse backgrounds — the foursome that makes up "Monsters" have been together on tour for over five years, resulting in a truly genuine and fresh product.
Super groups tend to build up absurd amounts of hype. Eager fans patiently await a masterpiece while the media tout the collection of several talented musicians.
Monsters of Folk is certainly no exception. The super group features a who's who of new-age folk singer-songwriters: Yim Yames (formerly Jim James) of My Morning Jacket, Conor Oberst and Mike Mogis of Bright Eyes and M. Ward of She and Him fame. Together they work to create stirring, emotional and introspective American music that draws influences from folk and country music alike.
The artists share songwriting duties on their self-titled album and each adds a distinct style to the group, without one sound being overwhelming. Yim Yames' ode to classic rock, Oberst's Bob Dylan-influenced lyricism and M. Ward's attention to classically composed American pieces all equally lend to the overall feel of the album.
Production on the album is impeccable. The guitar playing is slick, the chord progressions are gentle and expected and the vocalizations are perfectly orchestrated. What else would you expect from a bunch of a singer-songwriters? The slide guitar even makes several appearances.
The quartet manages to make fresh American music that gives credence to its predecessors. Songs on the album contain all the twang of your favorite country song and retain the simple three-cord structure that's familiar within folk and country swing. Among the myriad influences, classic rock plays a large role as well, specifically on the tracks bursting with electric guitar.
The group also finds room for subtle experimentation. The first song on the album, "Dear God (Sincerely M.O.F.)," a poignant open letter to God, is a perfect example. The song features several samples, including a drum loop that has also been used by rap artist Kid Cudi.
The song is a masterpiece, combining elements of hip-hop samples and bluesy folk singing. This is the only track on the album that features pre-recorded snippets, and it is unprecedented ground for folk music. It lays out a perfect template for clean, constructive use of samples in folk music.
Perhaps the most intriguing aspect of the album, though, is how each singer's unique tone and timbre mesh perfectly together. The vocal harmonies accentuate the contemplative and melancholy lyrics, and they add to the air of disillusion that permeates the CD. Oberst's gravely and surprisingly aged voice complements Yames' optimistic baritone, especially on songs like "Temezcal," in which the singers wail "Searching west and east/ All points in between/ Underneath the lines thought/ you're there and then you're not."
