2023-11-21 12:35:53
Sam Beam apparently hasn’t been interested in anything new for quite some time now Iron & Wine-material, but is primarily dedicated to archive viewing and the publication of live recordings, can be seen from the Who Can See Forever Soundtracks pretty easy to forgive.
„Iron & Wine’s Who Can See Forever is an accompanying live record to the film of the same name. Captured at Haw River Ballroom in Saxapahaw, North Carolina, the soundtrack features nineteen songs from the twenty plus year career of singer-songwriter Sam Beam. (…) The film – initially intended as a live concert film – evolved into a visual portrait capturing Beam during a creative outburst that earned him four Grammy nominations in four years. Like his music, the film touches on universally personal themes as Beam juggles being an artist, husband and father. Taken as one, the soundtrack and film are a fascinating first-time glimpse behind-the-scenes of Iron & Wine.“ says the press release, without going into detail as to when the 19 numbers on the record were actually recorded.
Together with Eliza Hardy Jones, Elizabeth Goodfellow, Sebastian Steinberg and Teddy Rankin-Parker as the backing band, Sam Beam has definitely – whenever exactly – found a wonderful perspective on the songs they have put together. His voice remains the focus and is often accompanied by downright soulful female background harmonies, the guitar playing merges into an organic, padded, rumbling velvet percussion. Over everything there seems to be an infinitely subtly nuanced soft focus that occasionally weaves subversive keys and brass into the action without disturbing the gentle arrangements in their calm flow.
You can definitely fall in love with the material here all over once more thanks to the immediate familiarity and security. Regardless of whether Woman King now cultivates a dark orientalism, Last Night latently cranky like a vaudeville fair dream occurs in a crooked manner, or Monkeys Uptown comes from the lively jazz cellar; if Grace for Saints and Ramblers unpacks the rumbly Americana sermon for the bar, Dearest Forsaken offers a smooth grooving view from the roadhouse into the prairie or Glad Man Singing comes across as funky.
Namely, all this happens from the immortal The Trapez Swinger away in such a great, homogeneous flow, in an excellently intimate sound space with an audience that rarely shows up, that it actually seems as if Sam Beam is getting a little closer to the heart of a beloved classic for 76 minutes that fly by so easily, barrier-free and timelessly , than in some studio versions. An album like a pleasant coming home. Sometimes that’s almost better than any new thrill.
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