Broken Bells - Broken Bells (2010)

Broken Bells is a terrific pairing of two artists who complement one another perfectly. Jim Mercer is taking a break from The Shins to focus on this project, and while the aesthetic is new for him, his greatest asset is present here—his voice. He sings in a fragile tenor that is full of genuine emotion, making Shins songs like “New Slang” and “Gone for Good” among the most beautiful songs of the generation. Dangermouse is a musician/producer I know very little about but here he creates sonic backdrops that perfectly complement Mercer’s vocals. The music tends to be understated, initially seeming moderately depressive, but reveals its subtle beauty over repeated listens. It contributes so much to the mood of the album, and lends a great deal to the emotional content of the songs. Neither musician’s contributions would resonate in quite the same way without the other’s. Mercer’s typical acoustic strumming is predominant, but unlike The Shins’ cheerful, welcoming sound, it given Broken Bells a crisp, cool tone. Many of these songs have an airy, majestic tone, which makes the album sound a bit grander than any of The Shins’ work. The album’s first song, “The High Road,” is a gorgeous midtempo song that reaches absolutely sublime heights as it progresses into a refrain of “let loss be your guide.” “Citizen” is an excellent example of strings and Mercer’s acoustic guitar creating the perfect backdrop for the duo’s (I think I hear other voices as well) soulful singing. “The Ghost Inside” is an interesting song; musically it has one of the strongest melodies, a really nice percussive rhythm, and handclaps that feel absolutely necessary, but it has some unfortunate falsetto harmonies before a gorgeous (non-falsetto) last verse. The album ends with one of its better songs, “The Mall & Misery,” a more upbeat song with a glorious synth motif and catchy vocal harmonies. Ultimately, it is hard to listen to most of Broken Bells without hearing pervasive sadness. Despite this melancholic tone, I can’t hear music as beautiful, and as well-constructed as these songs and not feel good. Classifying this album into a style is probably unnecessary because there is no genre it fits into perfectly. It should suffice to say it’s hard to find more affecting music, or two musicians who accentuate the others’ strengths so well.

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