Sub Pop
Sequels are a tough business. Unless your name is Francis Ford Coppola, just the idea of following up a critically praised and universally lauded work with more of the same, and maintaining the high standard that made the first one so great in the first place, is usually too much to bear. That’s why, in the music world, bands seem to generally follow the rule that for every successful album, there is an equal and opposite approach to making the next one. For every expansive and groundbreaking OK Computer, there is an introverted and garbled Kid A. Now, not every band is up to Radiohead’s standard, not by a long shot, but throw a dart at any artist you’ve seen interviewed prior to their latest release and chances are you’ll be reading a quote that says something along the following lines: “You know, we really had to do a lot of overdubbing and cut a lot of takes for each song on the last album which was exhausting so we wanted to get away from that this time and just set up our gear and record each track live to tape, you know, using the first take on each track just makes each track makes it seem so fresh.”

Listening to Helplessness Blues, the new release from the Fleet Foxes, you realize that, if nothing else, these guys have balls because there is almost no discernable musical difference between their first, eponymous release and this one. It takes guts to know who you are musically and follow that lane without feeling the need to switch up your approach. Helplessness Blues is essentially a sequel, not an equal and opposite reaction, but more of earnest acoustic strumming and baroque harmonies they pull of so well. Unfortunately it’s more of a lateral step instead of stride forward, and you wonder what the results would be if the Fleet Foxes decided to step out of their comfort zone a little.

That’s not to say the album is without its moments. The looping acoustic guitar breakdown in “Sim Sala Bim” is as tricky and intricate as anything they committed to tape so far. Towards the tail end of the album is where you find the band dipping their toes in the uncertain water flowing out of their comfort zone. “Blue Spotted Tail” dials back the reverb and shuffling guitar to great effect, leaving the plaintive voice of band leader Robin Pecknold alone to carry the tune. It’s refreshing, after waves upon endless waves of rising harmonies “Blue Spotted Tail” is a tonic to choral fatigue. The closer, “Grown Ocean,” is not exactly bereft of harmonizing, but the combination of Pecknold scatting along with undulating slide guitar at the end is hypnotic, and only hints at the musical growth you’d expect from a band as talented as they are.

Thematically it’s as if the band might be feeling the weight of their newly found fame as themes of confronting aging, and escapism lord over the tunes. On the albums opener, “Montezuma,” Pecknold recites the 30 year olds lament, “oh man what I used to be,” with all the weight of someone looking back on their spry youth, feeling like it should be within reach, and wondering what the hell happened. It doesn’t get any better for our lyrical protagonist on “Lorelai.” “So, guess I got old, I was like trash on the sidewalk/ I was old news to you then.” You wonder if there is a part of the band that might long for simpler times, dreaming of a laborers routine on “The Shrine/An Argument,” “If I had an orchard, I’d work till I’m raw.” Also, the great useless fact of Helplessness Blues: Apples make no less than three explicit lyrical appearances through the album.

Otherwise it is business as usual. Tracks like “The Plains/Bitter Dancer” and “Helplessness Blues” would have been right at home on their first album and are the standouts among the cuts that follow the soaring harmony/strident acoustic guitar format. At some point in time there was a radiant, folkie church choir that made music like this in a high beamed church after Vatican 2 liberalized the proceedings.

It’s all well and good but you’re left wanting a little more from the Fleet Foxes after digesting Helplessness Blues. A little more risk taking, a little less harmony, maybe some more electric something, a little less acoustic shuffling all mixed with a little less reverb. Then again, they can’t all be the Godfather 2, can they?