The word “shins” is probably my favourite word for a body part, certainly a better word than “leg” or “thigh”, and probably “ankle” too. Say it out loud and you'll understand just how aurally satisfying the word is. Shins. Shins. Shins. But (have you guessed where this slightly contrived intro is going, yet?) are the band “The Shins” sound as pleasing to the ear as the word “shins”? Let's find out!
Sometimes surreal and dreamlike, other times sparse and melancholic, occasionally both at the same time, The Shins' third full-length release is the sound of a band evolving, a band developing without rejecting what it was that their fans loved about their earlier records. And while the first few tracks may suggest that they've recorded 'Chutes Still Too Narrow' (or 'Chutes 2 Narrow', whichever you prefer), as the album progresses so too does the distance travelled from the standard Shins template... but not as far, perhaps, the ankle, or toes. (I am sorry.)
Opener 'Sleeping Lessons' starts quietly and, indeed, sleepily, but gradually and satisfyingly builds up into a fairly aggressive (by The Shins' standards) rock song, while 'Australia' sees the band on familiar indie-pop territory, as do later tracks 'Red Rabbits' 'Split Needles' and 'Girl Sailor'. Surf-tinged interlude 'Pam Berry' segues well into the excellent single 'Phantom Limb' – so far, so Shins.
The divergence of their sound begins with 'Sea Legs', a flirtation with the electronic, which is probably both the most eclectic track on the album and, for me, the weakest. 'Turn on Me' is an upbeat pop song and surely must've been a contender for release as a single, possibly their most accessible song to date, which is cleverly juxtaposed with the the sharply contrasting stripped-down and haunting 'Black Wave', possibly their least accessible song to date. The album closes with the excellent folk-tinged 'A Comet Appears'.
Despite the combination of the experimental and the familiar, the album certainly feels like a cohesive work, with not a track (other than perhaps 'Sea Legs') out of place. Whatever direction they pull themselves in, they never sound forced, maintaining a consistent, Shins-like sound, thanks in no small part to James Mercer's distinctive vocals, and his occasional delightful habit of cramming more words into his songs than the melodies should allow.
Life changing? Hardly. Better than 'Chutes Too Narrow'? I don't think so. A perfectly good, solid indie-pop album? Bingo. Perhaps too literate and subtle to propel them into the echelons of mainsteam stadium rock, which is probably for the best, 'Wincing The Night Away' is a perfectly nice, pleasant and even comforting listen, with the quality of its songs demanding that you pay it attention rather than relegating it to mere background music. I look forward to their next evolution with interest and optimism.
That's my Shins review, then. And look! I managed to do it without using the phrases “Natalie Portman”, “Garden State” and “will change your life”! Erm, until just then, anyway. Curses.
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