Okkervil River Albums (5)
What The Critics Say
Okkervil River's 2007 almost-masterpiece Stage Names presented a vivid dissection of the "Silver Screen," both literally and metaphorically as filtered through the crowded, cerebral library of bandleader (and one-time film student) Will Sheff. 2008's Stand Ins doesn't just complement Stage Names (which was originally conceived as a two-disc package), it completes it. Opening with the first of three mini-instrumentals that sound like a mash-up of Bill Frisell's Nashville and Radiohead's Kid A, Stand Ins revisits many of the central themes (loneliness, failure, hero worship, and broken love) that bounced around the set of Stage Names. Songs like "Lost Coastlines" (a duet with former member and current Shearwater main man Jonathan Meiburg), with its Motown bassline, copious "la, la, la's," and "Old West" horn section, "Blue Tulip" with its slow-burn build and explosive finale, and "Singer Songwriter" with its lament that "This thing you once did might have dazzled the kids/but the kids once grown up are going to walk away" are all instant Okkervil classics, but it's the nearly six-minute closer that seals the deal. Like "John Allyn Smith Sails," Stage Names' ode to doomed poet John Berryman, "Bruce Wayne Campbell Interviewed on the Roof of the Chelsea Hotel, 1979," a tribute to gay glam rock icon Jobriath, who was adored and then devoured by the press in the mid-'70s before dying of AIDS in 1983 a poor lounge act, presents its subject as tragic, misunderstood, and buried beneath the weight of his accomplishments. It's a subject that suits Sheff's writing style well, flowing out like an Americana version of something off of Scott Walker's self-penned fourth album. Stand Ins glows a little less bright than its predecessor, but it shines nonetheless. There may be nothing as immediately satisfying as "Our Life Is Not a Movie or Maybe," "Plus Ones," or "Girl in Port," but it offers a more streamlined ride than Stage Names, wasting very little time trying to squeeze every last bit of scarlet pulp from the blood orange. ~ James Christopher Monger, All Music Guide
What The Critics Say
Okkervil River broke away from the crowded indie rock pack with 2005's superb Black Sheep Boy, a ragged but ornate barroom romp that drank its way to the top of countless year-end lists by finding that thin vein that separates triumph and desperation and hammering as many nails into it as they could in under 50 minutes. Fans used to Will Sheff's visceral, lo-fi caterwauls may be disappointed in the bruised and elegant Stage Names upon first listen, but further spins reveal BSB as more of a stepping-stone than a peak. "It's just a life story/so there's no climax," from the rousing opener "Our Life Is Not a Movie or Maybe" sets the tone, and its floor tom gallop and volatile whoops sound like an unholy combination of My Aim Is True-era Elvis Costello and Transformer-era Lou Reed spilling out of an old player piano. Sheff has proven himself again and again to be a gifted wordsmith, and Stage Names features some of his finest parlor room romanticisms and slacker-poet observations to date. "Plus Ones," a studied rumination on some of popular music's most beloved numerically titled tracks ("96 Tears," "99 Luftballons," "Eight Miles High," "TVC 15," "7 Chinese Brothers," "50 Ways to Leave Your Lover" etc.) adds an unnecessary integer ("Not everyone's keen on lighting candle 17/The party's done/The cake's all gone/The plates are clean"), cleverly illuminating pop culture's insatiable thirst for sequels and remakes. It's a trick that could easily turn trite in less capable hands, but one of the band's many strengths is its ability to mirror Sheff with arrangements that match the earnestness, wickedness and occasional pomp of the lyrics. Those talents are used most effectively on two of the record's other highlights, the soft and broken "Girl in Port" and the alternately heartbreaking and hysterical "John Allyn Smith Sails," the latter of which chronicles the suicide of poet John Berryman and manages to integrate the Beach Boys' "Sloop John B" so seamlessly that you'd swear it had never existed before. It's not all winsome ballads about backstage passes and gutter bound writers though, as Sheff and company open up the full sneer on "Unless It's Kicks," "You Can't Hold the Hand of a Rock and Roll Man" and "A Hand to Take Hold of the Scene," making Stage Names less of a metaphor for the cinematic lives we wish we could have and more of a reminder that it's us who make the films. [The first 5,000 copies of Stage Names (the "deluxe" edition) came with a bonus disc featuring all of Sheff's demos for the record.] ~ James Christopher Monger, All Music Guide
What The Critics Say
Okkervil River continue to break the glass between messy nerves and orchestrated elegance on their fourth full-length, Black Sheep Boy, titled after the lovely song penned by Tim Hardin with which the band opens the record. However, their take on the song feels a bit rushed and uneventful, which knocks the tender breath from the lyrics and presents a clumsy start. Opening the record this way is the singular yet major complaint of the album, ironically pushing "Black Sheep Boy," the intended centerpiece, to the outskirts of the album's overall feel. Thankfully, the song spans only a short minute, so when "For Real" gently slips into motion, then cracks with a surprise beating of guitar stabs, that's when the confident dynamics Okkervil River established on their fine 2003 album, Down the River of Golden Dreams, break free. This confidence never wanes through the remainder of the album; it is here that the bandmembers sound like they are emotionally attached to the material and here that the album should've begun. Black Sheep Boy's mix of warm strings with Wurlitzer, barroom piano, horns, and vibes effectively creates a spatial and moody balance to the electric guitar attacks and roomy drums. With these songs, clear desperation creeps through and gives the impression that the band could've fallen to pieces at any moment -- but somehow held it all together -- and the catalyst of the whole passage is Will Sheff's thick, spitting voice pleading with the cascading dissonance and majesty of the arrangements. Tracks like "In a Radio Song," a song similar to the moody explorations of Saturday Looks Good to Me's precursory group, Flashpapr, are where these arrangements take the foreground, but equally effective are the forward, uptempo tracks that are less expansive, such as the super-hooky "The Latest Toughs," with its compressed falsetto singsong backing vocals, and the bouncy screaming "Black." Save the title track, Okkervil River continue to deliver the quality of Down the River of Golden Dreams, and though sonic evolution is barely existent from that recording, perhaps it doesn't need to be; certainly Sheff's songwriting still floats above that of his peers. ~ Gregory McIntosh, All Music Guide
'Down the River of Golden Dreams'
Release Date 1/1/2003
Tracks 11
Label Jagjaguwar
See Album Tracklist and Review
What The Critics Say
Down the River of Golden Dreams is the record Okkervil River has been threatening to make since its 2000 issue, Stars Too Small to Use. Songwriter Will Sheff has turned out his nicest batch of tunes here and reined in his voice just enough to communicate his ideas without pushing too hard, while simultaneously keeping the urgency and emotive qualities he showcased on the predecessor to this record, Don't Fall in Love with Everyone You See. Because of this, Down the River of Golden Dreams is easily the group's most cohesive record to date, and solidifies Okkervil River as a band worthy of scrutiny. The fluidity of Sheff's thoughtful lyrics align with his ability to play with tension, which comes across rather nicely on the jaunty "It Ends with a Fall," the dynamic epic "The War Criminal Rises and Speaks," and the delicate "Maine Island Lovers." The band has grown into a tighter unit with a knack for some nice arrangements -- which again was hinted at on Okkervil River's previous releases, but not fully realized until now. Liberal use of Rhodes, Hammond organ, and Mellotrons is the catalyst of these songs, leading the strings and horns through crescendos and textural landscapes without losing the raw nature that has always suited Okkervil River's honesty and desire to connect with the listener on an emotional level very well. ~ Gregory McIntosh, All Music Guide
'Don't Fall in Love With Everyone You See'
Release Date 1/1/2002
Tracks 9
Label Jagjaguwar
See Album Tracklist and Review
What The Critics Say
Marking the point when audiences started to warm up to Okkervil River's delicate yet explosive sound, Don't Fall in Love With Everyone You See foreshadows a band that would soon be capable of the fantastic follow-up Down the River of Golden Dreams, but here, they still sound a bit green. So what if Okkervil River wasn't quite up to snuff at this juncture? They soon would be, the songs hold merit, and aspirations of grandeur snake out and about, most notably in the horn-driven "Lady Liberty." But amidst all of the goodness, Will Sheff's vocals often detract from the listening. During the nine tracks of Don't Fall in Love With Everyone You See, Sheff sometimes seems too desperate to sing the songs with the naturalness they deserve, exuding false confidence in a manner that suggests his discomfort for writing himself out of his vocal range. Although most songs survive this disadvantage -- as in the building opener "Red," where the melody Sheff is aiming at (coupled with a lovely set of lyrics) balances the scale -- this is what keeps Don't Fall in Love With Everyone You See from obtaining the high quality Okkervil River later achieved. ~ Gregory McIntosh, All Music Guide
