1. Future Islands Wave Like Home Rare
2. Future Islands Wave Like Home Rarely

Mar 04, 2014. Future Islands have announced their sixth studio album, As Long As You Are, out October 9th via 4AD. As a teaser for the LP, the Baltimore band have released the single “Thrill,” with a stark. That said, Wave Like Home seems to play out like the chronological soundtrack to a torrid high school romance. Sam Herring, Gerrit Welmers, William Cashion, and Eric Murillo really rev up their punk motor on the album's early songs, such as 'Old Friend' and 'Flicker and Flutter,' which spark up the heart-knows-no-bounds kinetics of lonely adolescent lust. Mar 24, 2014.

In Evening Air is the second album by synthpop band Future Islands. The album was released on 4 May 2010 on Thrill Jockey records. It is titled after a poem of the same name by Theodore Roethke from his final collection, The Far Field. The album art was produced by former band member Kymia Nawabi.^[1]

Track listing[edit]

Reception[edit]

The album received mostly positive reviews with Pitchfork giving it 7.6/10.^[6] The aggregated score from 11 critics on Metacritic is a rating of 74/100.^[3]

Trivia[edit]

The songs Inch of Dust and Vireo's Eye were used for the TV series Shameless.

References[edit]

Future Islands Wave Like Home Rare

1. ^In Evening Air
2. ^'In Evening Air by Future Islands reviews'. AnyDecentMusic?. Retrieved 19 April 2018.
3. ^ ^ab'In Evening Air'. Metacritic. 23 March 2012.
4. ^In Evening Air at AllMusic. Retrieved 19 April 2018.
5. ^Breen, Samuel (12 May 2010). 'Album Review: Future Islands - In Evening Air'. Drowned in Sound. Retrieved 19 April 2018.
6. ^ ^ab'Future Islands: In Evening Air'. Pitchfork. 23 March 2012.
7. ^Britt, Thomas (6 May 2010). 'Future Islands: In Evening Air'. PopMatters. Retrieved 19 April 2018.
8. ^'Future Islands - In Evening Air'. Sputnikmusic. 28 May 2010. Retrieved 19 April 2018.
9. ^Redmond, Jordan (14 June 2010). 'Future Islands - In Evening Air'. Tiny Mix Tapes. Retrieved 19 April 2018.

External links[edit]

Future Islands might well be the first band to have to deal with a difficult fifth album. Having achieved minor success for almost a decade, 2014’s ‘Singles’ became a slow-burning success off the back of the breakout of all breakouts, ‘Seasons (Waiting on You)’. Propelled to fame in no small part by a notorious chest-pounding, throat-shredding Letterman performance, everything converged in an intoxicating mixture of passion, hooks and universality of sentiment so that Samuel T. Herring, Gerrit Welmers and William Cashion became the unlikely soundtrack of a summer. Herring has since said that he was hurt by the sniggering reaction from some corners of the web to that show-stopping TV appearance, but when he repeated the drill with added libido on Jools Holland a few months later it was clear that that was just him.

But that was then, and it’ll take more to compel the average Facebook user to click ‘share’ this time around. It always felt like Future Islands were bubbling under, threatening to erupt – and then they did. But how do they follow it? The answer, it seems, is with more of the same: brawny bass, sweeping synths, gigantic choruses and repeated refrains. While Herring’s voice is an undoubted asset, its distinctiveness amid such a lack of adventurousness only adds to the feeling of déjà vu. For better or for worse – and I would argue the latter – the second you stick ‘The Far Field’ on you’ll know it’s Future Islands.

There are some truly fascinating moments, though; hints of what the group could do if they didn’t revert to type so readily. ‘Ancient Water’ with its discordant keys and staccato synth melody are reminiscent of early Twin Shadow and showcase the signature sound of 4AD at its very best, while ‘Candles’ sees Herring et al embracing space for once. A welcome respite, it is the album’s best track as it changes tack from new wave maximalism to something more thoughtful. Rhythmically sensual and melodically complex, it is a triumph. As it fades and gives way to the Future-Islands-by-numbers ‘Day Glow Fire,’ however, it only serves to remind you that almost everything on this album draws on the same tempo, the same dynamics, and the same vocal phrasing.

Since the band shifted from the dark, gothic post-punk of their 2008 debut, ‘Wave Like Home’, to the synthpop polish of ‘In Evening Air,’ Future Islands have avoided change. Since then, while there can be no doubt that they have produced a ream of solid pop songs which can be admired in isolation, taken as a whole body of work, their oeuvre is starting to feel a little staid and disappointing.

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