I have always mentally split the Cranes' career into different musical segments. In the formative stage, encompassing Fuse, Self-Non-Self, and the EPs, the band's sound was characterized as a sonic wall, punctuated with angst-ridden lyrics. This sound mutated and developed a softer and richer texture demonstrated in the albums Wings of Joy, Forever, and Loved, which spawned some of the band's most memorable songs. Population 4 launched a third stage that employed traditional pop hooks with the band's evolving orchestral sound.

I was unsure how the new album, Future Songs, was going to sound - would it continue the poppier trend started by Population 4 or would the Cranes' sound evolve once again? Thus, with great anticipation, and some trepidation, I listened to Future Songs for the first time.

Strangely enough, the first listen was inconclusive. Being a fan of the "big" Cranes sound (e.g., Starblood, Adrift, and Lilies) I was hoping for a similar type of song. The album was not a musical blitzkrieg that swept me off my feet and no song jumped out and made me pay attention. However, the album was neither a disappointing collection of throw-away songs nor a continuation of the poppier Population 4 sound. Rather, my first impression was that this album was subtle and thematic. It is smooth and slow paced, with almost a soundtrack-type texture to it. The album demanded that I listen (as opposed to 'hear') again. The album was challenging me to be attentive and dig deeper into the music.

I responded as any good Cranes fan would, I put the album on repeat for the next six hours (of course, I was doing other things, such as updating Starblood.org (shameless plug)). The result? I am still listening to it, finding more and more in each of the songs. The album, as a whole, is very strong, with most of the individual songs developing a unique character that grows more distinguishable with every listen. This listening experience reminds me of when I first heard the Cure's Disintegration. At first it was a very monolithic/thematic album that seemed to sound the same throughout. But the more I listened to it and learned the songs, the more I was able to extract and love about the album. The same situation is developing for Future Songs. I am looking forward to spending more time with it and finding if it can stand the test of time.

Jim Shaw has developed a new and distinct type of Cranes sound. It is a new and subtle sound, relying less on powerful orchestration and sonic walls of sound commonly found in early Cranes recordings. Instead, he uses these elements in moderation, combining them with dominant, but not overpowering, bass lines and a liberal uses acoustic guitars. Alison Shaw adds the unique but familiar Cranes touch with her voice, adding emotional emphasis to the composition with her distinct vocals. Another facet of the music is that Future Songs is peppered with styles and sounds reminiscent of other artists. Make no mistake, - this album is a Cranes album through and through. But Jim Shaw has concisely assimilated outside sounds and structures into the Cranes' repertoire, giving the songs an additional dimension.

With that being said, here are my evaluations of the songs:

Future Song - This composition has been available for download for several months. It gives a glimpse of the new direction the Cranes have taken - a softer sound with a melody carried by an acoustic guitar and punctuated with bass and guitar.

Submarine - This is one of my favorites on the album. Its organ/drum/bass line doubles as a riff and is covered by layers of acoustic guitar and Alison Shaw's voice. Although the sound is repetitive and diminished, the songs has a sublime hook to it - the kind that makes you want to turn it up and extract more from your speakers.

Flute Song - A heavy, almost plodding, bass is the dominant element of the song. A slow guitar, reminiscent of Forever, and minimalisitc vocals carry the melody. Ironically, I was unable to tell if there actually was a real flute being played on this track.

Sunrise - This is a quiet tune that has a sad, almost haunting, feel to it. It features a strummed acoustic guitar (think Tangled Up) paired with a vibratto electric guitar sound and strong echoing vocals.

Don't Wake Me Up - Jim Shaw has created a subtle mixture and arrangement of ubiquitous sounds and samples to build a heavy bass line and melody, which are possibly one and the same, that would not be out of place on Radiohead's Kid A. Alison Shaw sings a soft pleading similar (but more) subdued than the "Where am i" in Lilies. Like Submarine, this is one of the richer and better songs on the album.

Driving in the Sun - This is the poppiest of all the songs on the album. It has a lighthearted and loving texture created by an acoustic guitar and rich vocals. However, there is nothing radical or challenging about this song and I could just as easily picture the Sundays or the Innocence Mission recording this song.

Fragile - This song is very repetitive, both in rhythmically and lyrically. In one respect, it seems to be a continuation of the sound found in Driving in the Sun yet there is a very different, trip-hoppy-type pulse/feeling to the song.

Eight - What happens when Skinny Puppy, Jim Shaw, and previous Cranes recordings (including Fourteen and Comme Je Suis Libre) collide? This one minute eight second instrumental (if the term instrumental is used generously) is a purely industrial antithesis of the sugary Driving in the Sun.

Even When - Jim and Alison Shaw again touch the poppier side, creating a soft and demure song. With minimal instrumentation, Alison uses her voice and vocal range to give the song a sad and longing feeling.

Everything For - It took me a while to figure out what this instrumental reminded me of - but I finally figured it out. Imagine a more subtle My Bloody Valentine guitar loop mixed with a Robert Smith/Cure guitar riff and a bit of a trip-hop beat in the background. If you cannot figure out what this would sound like, don't worry. Listen to this song, as it is all of these things as well as another of the standouts on the album.

The Maker of Heavenly Trousers - Despite the goofy title, this is a real song - a melodic one that again is driven by a acoustic guitar and has a slow electric guitar riff reminicient of Mazzy Star. It is an optimisitc sounding song reinforced by optimisitc lyrics.

Final conclusion: This album is worth getting as soon as possible, as you will want as much time as possible to listen and immerse yourself in it.

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