Iron & Wine
Our Endless Numbered Days (Sub Pop) When Sub Pop came across Iron & Wine in 2002, its sole member Sam Beam had been writing original Southern country songs for well over a decade, documenting them at his modest home studio for half as long. Sub Pop liked what they heard and wanted more. Beam was happy to comply, ultimately submitting literally dozens of songs to the hitherto loud label. Sub Pop’s problem wasn’t whether to sign Iron & Wine, rather which songs to release first. The answer was Iron & Wine’s astonishing debut, ’02’s The Creek Drank the Cradle, repeated by last year’s EP The Sea & the Rhythm. Both releases were mined from the same mother lode, compositions that showcase his picturesque lyrics, candlelit acoustic sounds, and haunting melodies. For his full-length follow-up, Beam wanted to try his luck at a commercial studio, choosing Brian Deck’s (Red Red Meat, Modest Mouse, Ugly Casanova) Engine Studios in Chicago to track 12 tunes. Thankfully, Beam doesn’t stray from his proven formula, but he does augment the proceedings with mandolin, more boogie, piano, and a bit more pluck. The under-two-minute “Radio War” joins bittersweet harmony vocals with a gently strummed mandolin, while “Free Until They Cut Me Down” proves that hours of listening to Lightnin’ Hopkins have sunk in. Even new to the game, Iron & Wine makes it look easy with a stunning addition to an already impressive, and growing, catalog. (Saturday, March 20, midnight @ Tambaleo)
This article appears in March 19 • 2004.