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▀█████▓▌ FORSAKEN Proudly Presents ▐▓█████▀
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▓█▀▄▄ Artist : Sean Rowe ▄▄▀█▓
▐▓▌▐█▌ Album : The Salesman and the Shark ▐█▌▓▌
▐▀▄██ Label : ANTI Records ██▄▀▌
▄███▌ Genre : Rock ▐███▄
▀███▌ Source : CD ▐███▀
▐▄▀██ Street Date : 2013-08-28 ██▀▄▌
▐▓▌▐█▌ Quality : 790 kbps / 44.1kHz / 2 channels ▐█▌▐▓▌
▓█▄▀▀ Encoder : FLAC 1.2.1 ▀▀▄█▓
▓███ Size : 294.06 MB ███▓
▀ ▀█▌ Time : 49:03 min ▐█▀ ▀
▓▄███ Url : http://www.amazon.com/The-Salesman-Shark-Sean-Row ███▄▓
▐▓████▌ e/dp/B008C401YG/ ▐████▓▌
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▄██▀ ▀██▄
██▌ 1. Bring Back The Night 4:02 ▐██
██▌ 2. Flying 4:42 ▐██
██▌ 3. The Lonely Maze 3:04 ▐██
██▌ 4. Joe's Cult 3:00 ▐██
██▌ 5. Signs 4:30 ▐██
██▌ 6. The Wall 4:25 ▐██
██▌ 7. The Ballad Of Buttermilk Falls 4:29 ▐██
██▌ 8. Horses 4:36 ▐██
██▌ 9. Old Shoes 5:10 ▐██
██▌ 10. Downwind 4:14 ▐██
██▌ 11. Thunderbird 3:24 ▐██
██▌ 12. Long Way Home 3:27 ▐██
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████ Singer and songwriter Sean Rowe is possessed of a truly singular ████
████ voice. On Magic, his Anti debut in 2011, it seemed to rumble ████
████ straight up from the depths of the earth to shake the listener's ████
████ ground. Though the stark guitar and voice production were a bit ████
████ rigid, Rowe's songs, even when a tad clumsy, carried within them ████
████ a singular vision of the natural world and an experiential poetry ████
████ that was easily communicated to listeners through that powerful ████
████ voice. The Salesman and the Shark stands in contrast to its ████
████ predecessor. Produced by Woody Jackson, Rowe is backed by a band ████
████ on most tracks, as well as various backing singers (who include ████
████ Petra Haden and Isobel Campbell), and an occasional string ████
████ section (Octetto Magnifico). The supporting cast is warranted; ████
████ Rowe's grown immensely as a writer. His melodies are tighter, his ████
████ lyrics and cadences sharper. Likewise, that voice, which seemed ████
████ already perfect, is even more disciplined and expressive. Opener ████
████ "Bring Back the Night" is a waltz ushered in by a halting ████
████ electric guitar, a skeletal piano, and a simple bassline. Rowe ████
████ gets through the first verse about broken love then delivers the ████
████ killer couplet the tune turns on: "The jungle has built its own ████
████ plans/And I was born obsolete, though I'm not an innocent ████
████ man...." His voice digs inside those words as if they were from ████
████ his marrow. A backing chorus joins him, sliding in from the ████
████ margins and carrying it to the heavens as a prayer. On ████
████ "Elsewhere," the band shimmers in the backdrop; they give his ████
████ vocals free rein on top, bringing the tune's simple melody and ████
████ weighty lyrics to the listener like a shot. Inara George duets on ████
████ "The Wall," introduced by the strings with restrained dissonance. ████
████ They create a sense off quiet drama before Rowe calms them as he ████
████ begins to relate a broken love song; George plaintively answers ████
████ him from the other side of the divide. "Horses" is one of two ████
████ rock songs here with its driving organic percussion, hyperactive ████
████ strings, and kinetic acoustic guitars. The other is "Downwind," ████
████ which successfully employs surf music to further its ends. In ████
████ terms of production there are a few songs here that rely too much ████
████ on Tom Waits ("Joe's Cult") and Leonard Cohen ("The Lonely ████
████ Maze"). That said, they don't feel like missteps because Rowe ████
████ actually possesses the chops to deliver the songs, which are ████
████ strong regardless. The Salesman and the Shark is head and ████
████ shoulders above the work of most of Rowe's peers, and he ████
████ possesses a strong identity as a songwriter, even if he doesn't ████
████ feel confident completely relying on it yet. ████
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