Unbelievably, this is Austin based Jonathan Meiburg's ninth album as Shearwater, a truly outstanding achievement in relative longevity and devotion to music. Made more so in the face of limited success, albeit one that has seen him attain a decent loyal following, and a high regard amongst critics, for his 'intelligent pop'. More ambitious than ever, but again keeping things on a short leash, Jet Plane and Oxbow is as tight, fluid and dynamic as always, as Meiburg explores a new found love affair with synths and 80s stylisms. In fact, the record was made with the early 80s in mind, when digital was just starting to make its mark. When technology was at the cusp of a new era, when records sounded like the audio equivalent of frontier people, exploring previously uninhabited terrain. It was pioneering stuff. Now, it seems we can do anything we like if we have both the right gear and the right ideas. Indeed, some of the tracks here were doctored via the use of 80s production equipment. Meiburg says that there are parallels now, with that of circa 1980: "Because technology seemed poised to change things in a way that might make life almost unrecognisable. [Like now] there was a sense of possibility and menace at the same time."
Following in the path of such conceptual artists such as Eno and Gabriel, Meiburg continues to operate within the broad confines of progressive pop rock, although the folkier aspects of his early work has largely disappeared. Produced by Danny Reisch, the album features contributions from such artists as Howard Draper, Jesca Hoop, Lucas Oswald, Abram Shook, Cully Symington and Wye Oak's Jenn Wasner. Most of all, Meiburg worked closely with Lost in Translation composer Brian Reitzell who brings along a widescreen aesthethetic via his arsenal of esoteric and cinematic instrumentation, and the aforementioned production equipment.
Meiburg has described Jet Plane and Oxbow as his 'protest record', as he observes what he sees as the encroaching and highly dangerous environmental destruction around him. Inspired by David Bowie's Scary Monsters, which Bowie said was a social protest record, it is an examination of man's place in the natural world, particularly with respect to the USA, a nation that while on the one hand is one of the most freewheeling on earth, is at the same time often leading the way in terms of regulation and protection. It's written with love and a deep commitment to searching for answers, and castigating senseless people.
Nature has always been close to his heart - he is an ornithologist, and indeed Shearwater is a type of bird - and while Meiburg and band are consumers of energy via their recording and production techniques, and also as a high fuel burning/polluting touring ensemble, Meiburg will invariably return to his love of nature, and ornithology in particular. Indeed, he has often flown to the Falklands or Tierra del Fuego, once he’s finished a tour, to observe some caracaras for a few weeks….
Throughout Jet Plane and Oxbow there’s a mix of soaring sonics and a low level broodiness as he attempts to articulate musically what he is saying musically, but never laying it on too thick. From the 80s chromatic synth that begins lead track Prime, Meiburg sets out subtly layering his songs, adding guitars, extra keys, buzzing bass, crashing drums, plus other effects and instruments. It’s big and menacing without being bombastic.
Meanwhile, key track Quiet Americans - a play on Graham Greene’s anti-war novel – is a deceptively euphoric 80s Simple Mindsesque number that is at odds with the underlying message, about his fellow countrymen too often ignoring common sense and the greater good, with their benign stance: “Take the memories out / Hide the evidence under / Piss on the world below / Like a dog that knows its name / Where are the Americans?”
Along with his increasing use of a buzzsaw bass/guitar sound, Meiburg has acquired a taste for the motorik Neu! grooves as can be heard on the vaguely claustrophobic and experimental feel of Filaments, the foundation provided by an unchanging bass line and urgent drum pattern, but with another song planted on top. It's a fantastic amalgamation of a deep seated rhythmic groove, and unexpected effects, samples and textures over the top, iced by Freiburg's filtered vocal, and a piano melody providing the basis of the 'other' song… The influence of Neu! can also be heard on the urgent Radio Silence, via bass, guitar and a metronomic drum beat. It’s an enduring rhythmic sound, and here somewhat similar to the British Sea Power track Machineries of Joy.
Sometimes, this new found interest in widescreen 80s music leads him into dubious alleys, such as on the overblown lighters-in-the-air U2 mimicking Pale Kings and the middle-of-the-road Springsteenesque Only Child, although lyrically Meiburg will always present an interesting picture: “You know how sometimes / You're so tired of the country / Its poptones and its pale kings / And its fences like knives,” he sings about the pleasure he gets from simply getting away for it all.
Album closer, the funureal Stray Light At Clouds Hill, is a reference to T.E. Lawrence's (Lawrence of Arabia) Dorset cottage, where he spent the final years of his life following a life of adventure and militarism, is a somewhat gloomy finale, as Meiburg’s sings over a bass and beat reminiscent of Joy Division’s Day of the Lords: “The light is so bright / The dark is so dark.”
And so Meiburg’s quest for a more balanced existence continues, positively dealing with the tension of living in and with nature, whilst inhabiting a modern world. He may be anxious (as many of us are), but he largely steers away from negativity and defeatism. In Meiburg's view, there is plenty to admire, love and, ultimately to fight for.
Jeff Hemmings
Website: shearwatermusic.com
Facebook: facebook.com/ShearwaterBand
Twitter: twitter.com/ShearwaterBand