Iron and Wine, the moniker of singer/songwriter Samuel Beam, is releasing his much anticipated follow up to 2024’s Light Verse at the end of February. Hen’s Teeth is a slightly darker sibling to Beam’s poetic 2024 offering. Both albums were recorded in the same sessions utilizing the same backing band and represent the end of a long songwriting dry spell for Beam.
The lightness found in Light Verse is now juxtaposed with the earthy, more robust and tactile offerings of Hen’s Teeth. Both, and especially the latest offering, emit a feeling of hope amidst uncertainty. Captured on Hen’s Teeth is how Beam relishes the spontaneity of making music and the feeling “There is no right or wrong answer, just praying for your luck and try your best.”
Hen’s Teeth was recorded at Waystation in Laurel Canyon, California, with Dave Way handling production duties. The band, as on Light Verse, is composed of David Garza on guitar, Sebastian Steinberg on bass, Tyler Chester providing keyboards, a triplet of drummers — Griffin Goldsmith, Beth Goodfellow and Kyle Crane — with Ben Cartwright arranging and playing all the strings including violin and mandolin. The tracks were enhanced by a number of duets which included his daughter Arden and the indie folk group I’m With Her. Beam likens the recordings to alchemy as the band and Beam acquiesced. Songs were recorded in a few takes, at a quick pace.
Hen’s Teeth delivers a delightful helping of folk rock distributing truisms throughout. The album begins with “Roses,” an engaging opener that is reminiscent of Sufjan Stevens’ folk rock acoustic outings. It is filled with lovely strings and penetrating lyrics, a pattern that is found throughout the entire album. This track introduces Beam’s daughter Arden Beam on backing vocals, and she will reappear later on the tracks “Singing Saw,” “Defiance, Ohio” and “Grace Notes.”
“Paper and Stone” portrays lovers so deeply entwined they physically merge, “but for the time we fell in two / you’d be me and I’d be you / one crust of bread could fit in our mouths / you’d breathe in and I’d let it out.” He goes on to examine if this is a good or bad thing, all the while playing with the imagery of a game of rock, paper, scissors. The delicate strings only enhance the overall feeling of revelry in the track.
The ebullient “Robin’s Egg” is a more rock-oriented track — think Crowded House at their most melodic and buoyant. The song is filled with a sense of celebration that is supported by the appearance of I’m With Her’s harmonies. Along with their appearance on the track “Wait Up,” they help Beam convey the idea that time is finite and to be careful not to let it just slip by. Beam throughout this shimmering track asks, “What are you waiting for?” This topic is continued on “Singing Saw,” an inspired blending of Simon and Garfunkel meets Beck in his Morning Phase era influences. Beam utilizes exquisite harmonies to contemplate humanity’s insignificance compared to the passing of time, “Days walk by like they don’t know you are there.”
The straightforward folk rock of “In Your Ocean” examines the back and forth of a couple at odds, “praying for dry ground, though I only want to drown when I find myself swimming in your ocean.” Questioning if, given the opportunity to escape, you would take it, but then realizing you don’t want to leave. The track is supported by solid acoustic guitar phrasing with organ and keyboard frills. The song is a highlight of the album. “Grace Notes” is another highlight with its moments of solitary contemplation over a jazz-inflected sonic.
Beam switches up the folk rock vibes of the album with an insertion of Tropicalia accents in both “Defiance, Ohio” and “Dates and Dead People.” On “Defiance, Ohio,” both Beam and his aforementioned daughter shine on harmonies conveying the impatience of everyday people putting up with stereotypes and stunted expectations. On “Dates and Dead People,” Beam weaves a sonic web utilizing Tropicalia with the storytelling effects of The Decemberists. The lyrics again jump out with observations of, “Your story is true whenever you need one… there’s nothing but devils when you look into the vanity mirror. Pick the devil you know.” This deep track stays with the listener long after the encounter. The final track, “Half Measures,” is a slow dreamy reverie that examines the ideal of non-committal only carrying a person so far. Eventually a choice must be made. This insightful lullaby puts the final touches on an enthralling effort.
In a music world filled with over-processed studio works, Iron and Wine’s organic feeling Hen’s Teeth is a welcomed break. The entire album is a lovely accompaniment to the day, with lyrics that jump out and make the listener think. Iron and Wine displays Samuel Beam at the height of his songwriting powers as he delivers another melodic helping of folk rock.
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