{"id":772,"date":"2012-04-13T13:50:00","date_gmt":"2012-04-13T20:50:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/culturecrash\/2012\/04\/the-return-of-the-shins.html"},"modified":"2012-04-13T13:50:00","modified_gmt":"2012-04-13T20:50:00","slug":"the-return-of-the-shins","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/culturecrash\/2012\/04\/the-return-of-the-shins.html","title":{"rendered":"The Return of the Shins"},"content":{"rendered":"<p><a href=\"http:\/\/1.bp.blogspot.com\/-HWtHvYUAKZs\/T4ifiNxg4GI\/AAAAAAAABSw\/h9MwbGy_2qU\/s1600\/James_Mercer.jpg\" imageanchor=\"1\"><img loading=\"lazy\" decoding=\"async\" border=\"0\" height=\"320\" src=\"http:\/\/1.bp.blogspot.com\/-HWtHvYUAKZs\/T4ifiNxg4GI\/AAAAAAAABSw\/h9MwbGy_2qU\/s320\/James_Mercer.jpg\" width=\"240\"><\/a>WHEN I sat down with all four members of the Shins around the time their <i>Chutes Too Narrow<\/i> album came out, I was already a big fan of the band&#8217;s gentle, indirect songs and slightly obscure production that made their music sound like it had been recovered from a &#8217;60s bootleg.<\/p>\n<p>I was also struck, that afternoon at the Authentic Cafe near Fairfax and Beverly, how strong and natural the camaraderie between the band members was.\u00a0That day I was sure, that a) they&#8217;d stick with this lineup, more or less, as long as they lasted, and b) that good as they were, they were about as big as they&#8217;d ever be.<\/p>\n<p>So much for my powers of prediction. The Shins have now followed fellow Portlanders The Decemberists into the major-label bigtime: Their new record, Port of Morrow, is a big hit on Columbia Records. And singer James Mercer, who I recall as a bit shy and very sweet and literary has, after his work with Danger Mouse on Broken Bells, broken up the Shins and reassembled it around his own leadership.<\/p>\n<p><a href=\"http:\/\/articles.latimes.com\/2003\/nov\/30\/entertainment\/ca-timberg30\">HERE<\/a> is my piece on the band, which has continued to make good music through all the changes.<br \/><a href=\"http:\/\/3.bp.blogspot.com\/-b-L3cGUMDUA\/T4ifofYjaJI\/AAAAAAAABS4\/rODcFydIITo\/s1600\/The_Shins_-_Port_of_Morrow.jpg\" imageanchor=\"1\"><img loading=\"lazy\" decoding=\"async\" border=\"0\" height=\"200\" src=\"http:\/\/3.bp.blogspot.com\/-b-L3cGUMDUA\/T4ifofYjaJI\/AAAAAAAABS4\/rODcFydIITo\/s200\/The_Shins_-_Port_of_Morrow.jpg\" width=\"200\"><\/a><br \/><span>Mercer, by the way, told me he spent much of his life indoors playing the Smiths and other British bands.\u00a0<\/span><br \/><span><br \/><\/span><br \/><span><span>&#8220;There&#8217;s a certain weird melancholy to the melodies that I&#8217;ve always enjoyed,&#8221; he says of English music. &#8220;I read in John Keats or someone, one of the romantic poets, that long ago they believed that the gall bladder created melancholy &#8212; and that only the British had that organ.&#8221;<\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>WHEN I sat down with all four members of the Shins around the time their Chutes Too Narrow album came out, I was already a big fan of the band&#8217;s gentle, indirect songs and slightly obscure production that made their music sound like it had been recovered from a &#8217;60s bootleg. I was also struck, [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[40,146,29],"tags":[],"class_list":{"0":"post-772","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-indie","7":"category-portland","8":"category-west-coast","9":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/772","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/comments?post=772"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/772\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/media?parent=772"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/categories?post=772"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/tags?post=772"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}