Album Review: James Vincent McMorrow, Wide Open, Horses

You might say that there’s little for J-V-Double-M to prove, having shown himself to be adept at forging hugely successful alt-folk records for almost 15 years now.

Still, much of Wide, Open Horses’ atmosphere is rooted in a sense of listlessness. McMorrow revealed his lethargy in a recent interview, citing the devalued nature of art in a world where viral success is paramount.

These sentiments are echoed throughout his latest LP. “What the fuck are any of us really doing here?” is the straightforward opening question on ‘Never Gone’. The record is far from querulous though, with philosophical perspectives and detailed storytelling giving substance to his self-deprecation on ‘No One Gets What They Wanted’ and romantic insecurity on ’Stay Cool’.

McMorrow’s latest opus really shines in its production. Common denominators across the 13 songs include airy lap steel guitars, lush harmonies and memorable falsetto choruses.

It’s delightfully out there at times. ‘Look Up’ feels like Hans Zimmer gone Game Of Thrones, with crushing synths stomping over plucked mandolins. ‘Give Up’ is enjoyably weird in its Connan Mockasin-style use of toddlers’ voices, kicking into a driving bassline/folk-jig combo to achieve a badass, uplifting impact.

The album reach its experimental zenith on the title-track. Starting off light and digitised, it climaxes with soul-elevating vocal swells, before switching into another tune entirely, with a clever nod to The Beatles’ ‘Norwegian Wood’.

Long and intricately constructed, Wide Open, Horses demands the listener’s patience. In return, James Vincent McMorrow offers a reinvigorating love letter to the art of the album.

8/10