10 Songs, 44 Minutes

EDITORS’ NOTES

As impressive as his past work has been, Samuel Beam (a.k.a. Iron & Wine) blows away all expectations with Kiss Each Other Clean. Previous Iron & Wine releases have explored American roots music themes in quirky, provocative ways; this time, electronica elements are applied to old-fashioned song motifs and folk instrumental colors to gorgeous effect. Beam’s clear high tenor soars to serene heights, surrounded by subtly layered background vocals. The songs shift from sunny invocations of the past (“Tree By the River”) to shadow-haunted narratives (“Rabbit Will Run”) and oblique cautionary tales (“Monkeys Uptown”). A warm spiritual glow lights up the enraptured “Walking Far from Home” and the delicately shimmering “Godless Brother In Love.” Unexpected sonic curve balls — like the funky, saxophone-accent groove of “Big Burned Hand” and the use of analog synthesizer sounds on numerous tracks — keep things pleasantly off-balance. The seven-minute “Your Fake Name Is Good Enough For Me” closes the album with jazzy wails and prophetic visions.

EDITORS’ NOTES

As impressive as his past work has been, Samuel Beam (a.k.a. Iron & Wine) blows away all expectations with Kiss Each Other Clean. Previous Iron & Wine releases have explored American roots music themes in quirky, provocative ways; this time, electronica elements are applied to old-fashioned song motifs and folk instrumental colors to gorgeous effect. Beam’s clear high tenor soars to serene heights, surrounded by subtly layered background vocals. The songs shift from sunny invocations of the past (“Tree By the River”) to shadow-haunted narratives (“Rabbit Will Run”) and oblique cautionary tales (“Monkeys Uptown”). A warm spiritual glow lights up the enraptured “Walking Far from Home” and the delicately shimmering “Godless Brother In Love.” Unexpected sonic curve balls — like the funky, saxophone-accent groove of “Big Burned Hand” and the use of analog synthesizer sounds on numerous tracks — keep things pleasantly off-balance. The seven-minute “Your Fake Name Is Good Enough For Me” closes the album with jazzy wails and prophetic visions.

TITLE TIME PRICE
4:47 $1.29
3:02 $1.29
3:58 $1.29
3:47 $1.29
3:15 $1.29
5:30 $1.29
3:50 $1.29
4:12 $1.29
4:39 $1.29
7:00 $1.29

Customer Reviews

4 out of 5

66 Ratings

Sad Day

mediapeople,

I think when you create a sound for yourself and change it so dramatically you run a risk. I am sure there are people who will love this but if you came here expecting what you have known as Iron and Wine make sure to preview the music before buying it. You may love it but this is not my cup of tea.

You were happy for me

Petermusicfreak,

First review! Sam, we are happy for you brother. This album is beautiful and quite the transformation. Godless Brother in Love is a phenominal. Its nice to see that you are still making art and moving forward. Concept albums are a risk but you pulled it off. Thanks for coming to the Pabst to see us in Wisconsin. Keep on keeping on!

About Iron & Wine

Singer/songwriter Samuel Beam, who rose to prominence with a blend of whispered vocals and softly homespun indie folk, chose the moniker Iron and Wine after coming across a dietary supplement named "Beef Iron & Wine" while working on a film. Raised in South Carolina, Beam received his bachelor's degree in art from Virginia Commonwealth University in Richmond and later his Master of Fine Arts degree from Florida State University Film School. Although Beam would later expand his sound to include electric instruments and rich, lush textures, he was firmly exploring the former style when several of his lo-fi recordings caught the ear of Jonathan Poneman, co-owner of Sub Pop Records. The songs had been recorded in Beam's bedroom without the aid of studio flourishes, but Poneman nevertheless requested that additional material be sent to the label for submission, and Beam responded by sending two CDs in the mail -- both of them full-length albums. Poneman considered releasing them both, but instead slimmed down the set to 12 songs and released it in September 2002 as The Creek Drank the Cradle. The similarly themed The Sea & the Rhythm EP followed in 2003.

It was Beam's 2004 full-length, Our Endless Numbered Days, that signaled his arrival on the indie pop scene. Recorded in Chicago with producer Brian Deck, the album was resolutely hi-fi, but the addition of a full band only illuminated Beam's deft lyricism and intimate vocal delivery, resulting in one of the most critically acclaimed albums of the year. Late 2004 found the newly marketable Iron and Wine popping up on television commercials and movie soundtracks (In Good Company, Garden State), culminating in a busy 2005 that saw Beam release two EPs, the lush Woman King and In the Reins, a collaboration with Arizona spaghetti Western aficionados Calexico. The politically charged Shepherd's Dog, Beam and company's most diverse -- and most listenable -- record to date, was released in 2007. A two-disc collection of B-sides, rarities, soundtrack inclusions, and discarded tracks from the Iron and Wine archives called Around the Well arrived in early 2009. Kiss Each Other Clean, Iron and Wine's first collection of new music in nearly three years and one that found Beam further expanding the group's sound, was released in January 2011 by their new label, Warner Bros. After a move to 4AD and Nonesuch, Iron and Wine released the more relaxed and intimate Ghost on Ghost in early 2013. The Brian Deck-produced album featured jazz drummer Brian Blade and bassist Tony Garnier of Bob Dylan's band, among others. Together with Band of Horses frontman Ben Bridwell, Beam released a covers album titled Sing into My Mouth in 2015. The record featured versions of songs from the likes of Talking Heads, John Cale, and Sade. ~ James Christopher Monger

Top Songs by Iron & Wine

Top Albums by Iron & Wine

Top Music Videos by Iron & Wine

Listeners Also Bought