Album review | ‘Port of Morrow,’ The Shins

Sarah Homet
Contributing Writer

For fans that fell in love with The Shins long before they serenaded us from Natalie Portman’s headphones in 2004‘s “Garden State,” and for those that are relatively new to their music, the band’s fourth studio album, “Port of Morrow,” has been eagerly anticipated.

In a major shift, lead James Mercer is the only original member to return after a five-year hiatus. However, fans expecting the distinct sound that is The Shins, despite time and reconstruction, are not disappointed.

This is something to be said of Mercer, proving himself timeless, and the strong defining piece of The Shins’ sound.

In this shift, “Port of Morrow” boasts a more technology-laced pop sound, with simpler, less-introspective lyrics than their former works. The ’60s nostalgia that defines the music meets modern pop in this twist of nostalgic indie pop that opens up to a larger audience.

The new sound seems to unite new and old fans, bringing together the past and the future to where The Shins currently stand, at the “Port of Morrow” And at 41, James Mercer still looks into different musical horizons to expand. No matter the mixed reactions, this album is quality, and most are glad to welcome them back to the indie pop scene.

Good music evolves with the times and the artist, though this does not always equate to musical growth in every aspect. This album boasts lyrics that are simplistic and straightforward, delivered in a sharp and clean way.

This heavily produced sound has a collaboration with Greg Kurstin, who has worked with pop artists such as Ke$ha in an attempt to revitalize the sound. Understandably, this change falls to mixed review. It is up to the fan to decide if this revitalization is a change are for the better. The Shins’ distinctive stripped-down sound, introspective and metaphorical lyrics and unique harmonies seem to have disappeared, where biting lyrics were the sharp and clean force that carried the band.

One notable track, “Bait and Switch,” seems to be a good weather anthem that is a great listening companion to the recent March sunshine. With the albums resoundingly hopeful message about the ups and downs of life, “Simple Song” talks of perservering through the pains of past love, but is not as hopeful as “It’s Only Life,” where Merger urges that, “It doesn’t have to be so dark and lonesome.”

Unfortunately, though the album opens up with some very strong tracks, it seems to lag near the middle with repetitive ballads that leave a lot to be desired, such as “For A Fool,” with such simplistic lyrics that are a far cry from the intricate metaphors that were Mercer’s trademark in previous albums.

With a great musician with such a distinct sound, a complete disappointment is simply not possible with James Mercer. His risks to produce new distinctive music is to be admired. The album is definitely worth blasting through speakers, for the new, the old and the critical fans alike. With the contrast between every song in the album, rather than indie pop’s trend as of late to tell a story or stick with a concept throughout, something in the shuffle is sure to speak to everyone. And at 41, he shows no sign of stopping as his life evolves, and his music with it.