CD Review: Iron & Wine – Kiss Each Other Clean

Bearded songwriter expands on the sleepy folk of yesteryear

By Derrick Rossignol

Posted on Jan. 26, 2011, at 10:11 p.m.

A violin alone sounds nice, but when incorporated into a grand orchestra, it contributes to a much greater good. Iron & Wine, a pseudonym for South Carolina songwriter Sam Beam, caught on to this philosophy and added some lovely embellishments atop his whispery voice and acoustic guitar.

Upon close inspection, the album cover is indicative of the work it represents — it’s a vibrant explosion of diverse colors from across the spectrum, but it still depicts a mountainous, bearded man in a natural environment.

“Kiss Each Other Clean” doesn’t stray away from the soft folk rock that has been Beam’s bread and butter for years, but instead adds a new dimension to it.

It is difficult to deem any one track as the album highlight, since this is a record that has plenty of meat on all of its bones. Things get started with the lead single, “Walking Far From Home,” which certainly makes a push for this title.

Immediately, it becomes evident that this is a unique record as far as the Iron & Wine discography goes. More-than-whispered vocals and a beautiful arrangement make this slow burner sound more like a conclusion than an introduction, but it performs its duty as an opener commendably.

“Tree By the River” starts off with some “oh-ah-ohs” and sounds rarely heard on Iron & Wine albums, such as soft bells and an ambience that will suck anybody with a soul right into the song. At times sounding like David Gray — a lot like David Gray, actually — and the artist James Blunt wishes he was, Beam is continuing on in the constant maturation he has been undergoing between each of his albums.

A very mellow work is not necessarily a boring work. The relaxed-yet-engaging “Monkeys Uptown” has a fantastic groove and even shows a small hint of electric guitar virtuosity between verses. Although similar to something tropical but in a dimmer way, funk takes over the last minute to break down the track wonderfully, leading into “Half Moon,” which sounds like a folk cover of a country song.

Beam gets tribal with the percussion on “Rabbit Will Run,” which could be the score of a jungle pursuit at dusk. Various noises and quirks give the song a unique identity, although it still seems like it could be playing in a background of a darker, modern day remake of the “Yoshi’s Island” video game. This song is a fantastic summary and representation of the album — not because it is necessarily the best track — but because like the album, it is an eclectic mix of diversity that doesn’t sound out of place for a second.

Fans who miss the nakedness that was characteristic of Iron & Wine’s early work will be both thrilled and lulled to a peaceful state upon hearing “Godless Brother In Love.” With many things, simplicity is the best path to take, a trail that is strictly adhered to here. This is the most traditional and stripped down song on the album, but it is also the one most suited for slow dancing to while sipping on a glass of red wine.

This lovely example of all of the good that will come from 2011 is wrapped up in brilliant fashion with “Your Fake Name Is Good Enough For Me.” This is the first time the guitar-work has gotten adventurous and really rock-like, despite having a jazzy sound from the onset.

The seven-minute closer will please anybody who likes a jam and anybody who wanted closure for this album. The song shuts the door after it leaves, doesn’t look back and leaves the listener wanting a heck of a lot more. Perhaps this is not a release that should be bought on vinyl — the record may get worn out long before the songs lose their magic.

Grade: A-

This entry was posted on Wednesday, January 26th, 2011, 10:11 pm. You can follow any responses to this article through the RSS feed.