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Iron & Wine|Woman King

Woman King

Iron & Wine

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Anyone still hoping that Sam Beam and Iron & Wine will ever go back to the lo-fi sound of their first album might as well give up on that pipe dream. On the 2005 EP Woman King, Iron & Wine's sound is more produced and varied than ever. The record's arrangements are overflowing with a wealth of percussion, vocal harmonies, banjos, violins, and pianos. Beam's vocals, while always a thing of beauty, sound more assured and powerful than ever. Iron & Wine sound like a real band here; if you heard them in a big-budget Hollywood film, you wouldn't even flinch. The widening and smoothing of the band's approach does Beam's songs great favors, too. While his songwriting is as emotionally direct and haunting as ever (no amount of studio sheen could change that), this EP never feels insular, as his previous albums sometimes did. It sounds widescreen and universal. Woman King is too short to be considered the high point of Iron & Wine's career -- it certainly points in that direction, though.
© Tim Sendra /TiVo

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Woman King

Iron & Wine

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1
Woman King
00:04:20

Sam Beam, Writer - Iron & Wine, MainArtist

© 2005 Sub Pop Records ℗ 2005 Sub Pop Records

2
Jezebel
00:05:07

Sam Beam, Writer - Iron & Wine, MainArtist

© 2005 Sub Pop Records ℗ 2005 Sub Pop Records

3
Gray Stables
00:03:55

Sam Beam, Writer - Iron & Wine, MainArtist

© 2005 Sub Pop Records ℗ 2005 Sub Pop Records

4
Freedom Hangs Like Heaven
00:04:00

Sam Beam, Writer - Iron & Wine, MainArtist - Samuel Ervin Beam, Composer, Writer

© 2005 Sub Pop Records ℗ 2005 Sub Pop Records

5
My Lady's House
00:03:32

Sam Beam, Writer - Iron & Wine, MainArtist

© 2005 Sub Pop Records ℗ 2005 Sub Pop Records

6
Evening On The Ground (Lilith's Song)
00:03:04

Sam Beam, Writer - Iron & Wine, MainArtist

© 2005 Sub Pop Records ℗ 2005 Sub Pop Records

Album Description

Anyone still hoping that Sam Beam and Iron & Wine will ever go back to the lo-fi sound of their first album might as well give up on that pipe dream. On the 2005 EP Woman King, Iron & Wine's sound is more produced and varied than ever. The record's arrangements are overflowing with a wealth of percussion, vocal harmonies, banjos, violins, and pianos. Beam's vocals, while always a thing of beauty, sound more assured and powerful than ever. Iron & Wine sound like a real band here; if you heard them in a big-budget Hollywood film, you wouldn't even flinch. The widening and smoothing of the band's approach does Beam's songs great favors, too. While his songwriting is as emotionally direct and haunting as ever (no amount of studio sheen could change that), this EP never feels insular, as his previous albums sometimes did. It sounds widescreen and universal. Woman King is too short to be considered the high point of Iron & Wine's career -- it certainly points in that direction, though.
© Tim Sendra /TiVo

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