album review: band of horses, infinite arms

Released May 18, 2010, Infinite Arms is Band of Horses’ third album (after 2006’s Everything All the Time and 2007’s groundbreaking Cease to Begin). Band of Horses is part of the folk-rock revival of the late aughts, in conjunction with bands like the Fleet Foxes, My Morning Jacket and the Shins.

What makes this band stick out to me particularly, though, is their generally positive sound: the musical arrangements, usage of string and horn sections, lead singer Ben Bridwell’s clear, high voice and the harmonization make this band’s sound uniquely uplifting without bordering into cheesy territory. The lyrics and meanings of the songs are not always entirely positive (take a listen to “No One’s Gonna Love You” off Cease to Begin if you’re wondering what I’m talking about here) but their music is upbeat in a genre that is typically characterized by haunting melodies and simple arrangements. As one of my friends put it when we were driving in Tucson two years ago, Band of Horses is like a happier Death Cab for Cutie.

Infinite Arms is Band of Horses’ highest-selling album thus far, despite mediocre and downright bad album reviews. While I agree with most other reviewers in that Infinite Arms does not necessarily break new artistic ground, the tried-and-true techniques, talent and style that makes Band of Horses what it is shine through endlessly on this album. Everything is here: the classic harmonizing we’ve come to know and love from the band, Bridwell’s clear falsetto over searing guitar and drum backgrounds, a sense of “epic-ness” thanks to a prominent string section and some old-fashioned Southern rock popping up when you least expect it.

Infinite Arms takes the listener on a rollercoaster through memory, love, loss and what home means. The frequent switches in tempo, lyrics and arrangement match the thematic concept of journey on Infinite Arms. Opening with a sweeping, epic single “Factory,” Infinite Arms goes right into the rock and roll that established Band of Horses as folk-rock way back when. Infinite Arms keeps the momentum going until “Blue Beard” and my personal favorite “On My Way Back Home.” The quickening and slowing down of the pace of the album continues pretty steadily and includes highlights like “Older,” a classic Southern rock tune that includes a sing-a-long chorus and stellar harmonizing and “NW Apt.,” a foot-thumping tune that sounds like standard BOH. The final track, “Neighbor,” features harmonizing over such a slow background of sweeping guitar and piano that it sounds almost choral and leaves the listener with the feeling of peace.

Band of Horses has grown up a little on this album. The same themes shape Infinite Arms in the same way they have on the previous two, but I’m not bothered by this because the album does not sound like formulaic music; it is complete. Even as far removed as we are listening on stereo rather than in concert, Infinite Arms leaves you feeling a visceral connection to the band and its music, which is honestly hard to come by with most (even indie) artists. For this reason, this album is worth noting – I believe that when we listen to music, we’re all really in search of that connection. On Infinite Arms, Band of Horses has done a good job keeping us entertained: we’re satisfied with what they have given us here, but interested in hearing more.