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Shore
Studio album by
Fleet Foxes
ReleasedSeptember 22, 2020 (2020-09-22)
RecordedSeptember 2019–September 2020[1]
Studio
Genre
Length54:22
LabelAnti-
ProducerRobin Pecknold
Fleet Foxes chronology
Crack-Up
(2017) 		Shore
(2020) 		A Very Lonely Solstice
(2021)

Shore is the fourth studio album by American band Fleet Foxes, released on September 22, 2020, by Anti- Records.

It was announced one day in advance of its release, and was intentionally released exactly at the autumnal equinox on September 22, 2020. It is the follow-up to their 2017 album Crack-Up and is the band's first release on Anti- Records. It is the band's second album since regrouping in 2016 after a three-year hiatus.[6]

Frontman Robin Pecknold began writing Shore in September 2018 and recorded the album between September 2019 and September 2020, including during the COVID-19 pandemic. Pecknold produced the album, working alongside recording and mixing engineer Beatriz Artola. It was made by Pecknold without the other members of the band and features a "brighter" sound than their previous work. Shore features a number of collaborators, including other vocalists. Pecknold has called the album a celebration of "life in the face of death".

Shore received widespread acclaim from music critics and appeared on several year-end lists. It was nominated for Best Alternative Music Album at the 64th Annual Grammy Awards.[7]

Background

[edit]

A fourth Fleet Foxes album was first mentioned in December 2016 by frontman Robin Pecknold, three months before the announcement of their third studio album Crack-Up (2017). Pecknold claimed that Fleet Foxes was contractually obligated to release another album "within 24 months" of their third album.[8][9][10] However, Pecknold clarified that a fourth album had not been written yet and that he was in the process of writing a solo album.[11] Days before the release of Crack-Up, Pecknold teased a fourth album titled Gioia.[12] Crack-Up was released by Nonesuch Records on June 16, 2017. Around the same time, Pecknold stated that he wanted the band's fourth album to have a "joyous"[13] and "ecstatic" sound. He described Crack-Up as beginning in "pure conflicted solitude" and ending in a "bright clearing", and said he wanted their next album to be a "celebration of or elaboration on how Crack-Up ends."[14]

Fleet Foxes embarked on an extensive tour in support of Crack-Up, playing upwards of 170 shows.[15] The tour concluded with a performance at the 2018 Bumbershoot festival in Seattle on September 2, 2018.[16]

Writing and recording

[edit]

"I wanted the album to exist in a liminal space outside of time, inhabiting both the future and the past, accessing something spiritual or personal that is untouchable by whatever the state of the world may be at a given moment, whatever our season."

Pecknold began writing Shore in September 2018, immediately after touring Crack-Up. He wanted to find a "new, brighter way" of writing songs. He created playlists of hundreds of "warm" songs, immersing himself in the music of Arthur Russell, Curtis Mayfield, Nina Simone, Michael Nau, Van Morrison, Sam Cooke, The Roches, João Gilberto, Piero Piccioni, Tim Bernardes, Tim Maia, Jai Paul, and Emahoy Tsegué-Maryam Guèbrou. Pecknold set out to be productive and avoid another long break between albums, and wrote every day to develop compositions and a musical concept. He wanted to write an album that would celebrate "life in the face of death" and honor musical heroes that have died, explicitly referencing them in the lyrics and "carrying them" in the music. He wanted the album to "exist in a liminal space outside of time" and to provide a sense of relief from some immediate uncertainty. Pecknold wrote consistently for a year, including during a month-long writing trip in rural Portugal.[1]

Recording began in September 2019 at Aaron Dessner's Long Pond studio located outside of Hudson, New York. It was Pecknold's first time working with recording and mixing engineer Beatriz Artola. She would go on to record the entirety of the album with Pecknold, being present at every recording session. It was Pecknold's first time working alongside a collaborator for an entire album's recording process. At Long Pond, he also worked with The Westerlies, a horn quartet composed of Andy Clausen, Chloe Rowlands, Riley Mulherkar, and Willem de Koch. They contributed horn arrangements and performances to Pecknold's songs, which were half-formed sketches at the time. Drummer Joshua Jaeger also assisted in arranging rhythms for the songs at the Long Pond session in September 2019. In October 2019, Pecknold and Artola recorded a short session at Studios St Germain in Paris, France.[1][17] Pecknold enlisted Uwade Akhere, who he discovered after being sent a clip of her singing Fleet Foxes' "Mykonos".[18] Akhere was a Columbia University student studying abroad at Oxford at the time and she traveled by train to Paris to record vocals. Her vocals appear on "Wading in Waist-High Water", "Can I Believe You", and "Shore". Between November 2019 and March 2020, Pecknold and Artola recorded at Woody Jackson's Electro-Vox Studio in Los Angeles California. Pecknold visited Vox years earlier and wanted to record there, and ended up recording most of Shore at Vox. He credits his time at Vox as well as their equipment and instruments for shaping the album's sound. Instruments they were afforded use of at Vox included an extensive collection of various guitar and bass models, Baldwin electric harpsichords, treated congas, a prototype Orchestron, taiko drums, Mahayana temple blocks, and a vibraphone played on The Beach Boys' album Pet Sounds, as well as an organ belonging to Fela Kuti and a drum kit belonging to Frank Sinatra. They also spent two weeks at Vox recording with Christopher Bear of Grizzly Bear, who contributes drums and percussion on most of the album.[1][17][19]

Pecknold had a breakthrough in writing lyrics while traveling back and forth to Upstate New York, including to Lake Minnewaska (pictured).

Toward the end of February 2020, Pecknold had the majority of Shore conceptualized and the contributions from other artists recorded, but he had yet to write any lyrics he felt comfortable with. He became overwhelmed with worry and anxiety about finishing the album. He would write sets of lyrics only to discard them, struggling to find the perspective he believed would match the music. Many of the songs were musically complete, but others were unfinished or uncertain. Recording at Vox was prematurely cut short due to the COVID-19 pandemic. Pecknold flew back to New York City in anticipation of a lockdown, leaving all of his guitars at Vox. He also returned to New York because Artola, who lives in New York, would be unable to travel with him to any studios during a lockdown. For three months, Pecknold quarantined in his Greenwich Village apartment due to Governor Andrew Cuomo's stay-at-home order. He also participated in the George Floyd protests in New York City. In June 2020, he began taking day-long drives in his Toyota 4Runner from his apartment in New York up to Lake Minnewaska and into the Catskill Mountains. It was during these drives that he found himself finally writing lyrics he felt comfortable with, reciting them into his phone and jotting them down in parking lots. He ultimately wrote the lyrics to fifteen songs within three to four weeks. Pecknold credits the COVID-19 pandemic and its surrounding circumstances with causing his anxiety around the album to disappear, allowing him to finish the album and giving him "a different perspective on how important or not this music was in the grand scheme of things."[1][17][20][18]

Between July 2020 and August 2020, Pecknold and Artola recorded at The Diamond Mine, a recording studio Long Island City, Queens. It was there that Pecknold met Homer Steinweiss and Paul Spring of the band Holy Hive. Steinweiss contributed drums to four songs on the album and Spring acted as an additional mix engineer. Pecknold and Artola also recorded vocals and overdubs at Electric Lady Studios in Greenwich Village in August 2020. The album was produced entirely by Pecknold and mixed by Artola.[1][17] Shore was made without the other members of Fleet Foxes: Skyler Skjelset, Casey Wescott, Christian Wargo, and Morgan Henderson. Pecknold expected to record with the band but did not due to the pandemic lockdown as well as his desire to finish the album and quickly release it.[18] "Going-to-the-Sun Road" features an outro verse in Portuguese written and sung by Brazilian singer Tim Bernardes of the band O Terno,[21] making it the first original Fleet Foxes song to not be written solely by Pecknold.[citation needed]

Music and lyrics

[edit]
The lyrics of "Sunblind" reference musicians who have died, including (clockwise from top left) Elliott Smith, Richard Swift, John Prine, and David Berman.

Will Hodgkinson of The Times characterized the album's mood as similar to the Portuguese and Brazilian emotion of saudade, a "kind of wistfulness containing sadness and hope in equal measures".[22] Pecknold described the album as having a yin and yang relationship with Crack-Up.[21]

Pecknold has called Shore his least personal album, written with a focus on other people.[18] The lyrics of "Sunblind" reference Pecknold's musical heroes who have died, including Richard Swift, Bill Withers, John Prine, Elliott Smith, Arthur Russell, Judee Sill, David Berman, Nick Drake, Otis Redding, Jeff Buckley, Curtis Mayfield, and Jimi Hendrix.[23][24][25] In its chorus, Pecknold expresses gratitude for being alive and pledges to use the inspiration the artists have given him to live a full life in honor of their deaths.[18] Human memory is a prevalent theme on the album, including how musicians "stay alive" through the memories people attach to their music. Pecknold was partly influenced by his grandfather who had a stroke while he was making the album, and suffered lapses in his memory.[24][26]

The chorus of "Can I Believe You" features approximately 400 to 500 voices compiled from recordings solicited by Pecknold from his Instagram followers.[23][27]

"Jara" is titled after the Chilean singer and political activist Victor Jara, who was tortured and killed during the dictatorship of Augusto Pinochet. It was written by Pecknold to venerate friends of his who are political activists.[18][21]

"Cradling Mother, Cradling Woman" contains a sample of Brian Wilson of The Beach Boys counting, taken from an a cappella version of "Don't Talk (Put Your Head on My Shoulder)" from The Pet Sounds Sessions in which Wilson layers vocal harmonies.[18] Pecknold first heard the outtake as a teenager and was strongly influenced by it, saying "that piece of music, more than any other, was what made me want to be a musician." "Cradling Mother, Cradling Woman" features the most overdubs of all Fleet Foxes songs.[26]

Artwork and title

[edit]

The album's front cover photo is "Outlet, Bering Glacier, Alaska 1973" by Hiroshi Hamaya. The back cover photo is "Rivulet Flowing Among Trees, Akan, Hokkaidō, Japan 1964" by Hiroshi Hamaya. The gatefold photo is a still from Shore by Kersti Jan Werdal. The packaging contains hand drawn flora by visual artist Dino Matt.[17]

The album's title is a reference to a traumatic surfing experience Pecknold had in California in 2017 when he got caught in a rip current. The relief of returning to shore influenced him to name the album Shore and decide on a "relieving, joyous, glad-to-be-alive kind of vibe" for the album.[24]

Release

[edit]

On December 31, 2018,[8] Pecknold teased several demos of new music on his Instagram.[28] In September 2019, Pecknold posted a tracklist for a project titled Shore, which included 15 partially whited-out song titles. In December 2019, Pecknold alluded to "15 Big Ones" when asked if he would be releasing new material soon.[8]

On August 15, 2020, Pecknold debuted "Featherweight" in a performance as part of Vote Ready Live, a livestream event encouraging voter registration.[29][30][31]

Shore promoted on the marquee of Metro Chicago in Chicago, Illinois.

On September 20, 2020, the album was teased in Paris with posters indicating a project titled Shore would be released on September 22, 2020.[32][33] A teaser video was posted the same day. Pecknold confirmed via the band's Discord channel that Shore was an album and revealed that it would feature contributions from Grizzly Bear guitarist and vocalist Daniel Rossen.[34][35] The album was officially announced the following day. Shore was released by Anti- on September 22, 2020, exactly at 13:31 UTC to coincide with the September equinox. A 55-minute companion film of the same title was released on YouTube at the same time.[36][37] Directed by Kersti Jan Werdal and shot on Super-16mm, the film showcases landscapes of the Pacific Northwest.[38] Before signing with Anti-, Pecknold considered self-releasing Shore on Bandcamp.[18] Shore was also promoted on the marquees of numerous venues in the United States, including the Paramount Theatre in Seattle, the Paradise Rock Club in Boston, Webster Hall in New York, Crystal Ballroom in Portland, Oregon, and the Hollywood Palladium in Los Angeles. The marquees also encouraged people to vote.[39]

In an interview with Exclaim!, Pecknold referred to Shore as the "Rising Quarter Phase". He stated that he planned to release nine other companion songs co-written with the other four members of Fleet Foxes. The new songs would potentially be added to an expanded tracklisting of Shore, sequenced as a 24-track album with each song assigned to an hour of the day.[24]

On October 7, 2020, a music video for "Can I Believe You" directed by Sean Pecknold was released. It features Jade-Lorna Sullivan, who previously appeared in Sean Pecknold's music video for "Fool's Errand". It also features Jean Charles, who previously appeared in Sean Pecknold's music video for "I Am All That I Need / Arroyo Seco / Thumbprint Scar". It is the third part of the three-part trilogy.[40][41]

On December 4, 2020, Fleet Foxes released the album Shore (Stems Edition) on Bandcamp. It is a collection of stems for the album, spread across 201 tracks and a duration of over eleven hours.[42][43]

Physical editions of Shore were released on February 5, 2021.[44]

On September 22, 2021, a music video for "Featherweight", directed by Sean Pecknold and animated by Eileen Kohlhepp, was released.[45]

A Very Lonely Solstice

[edit]
Main article: A Very Lonely Solstice

A virtual, pre-recorded concert performance entitled A Very Lonely Solstice was livestreamed at 9 pm ET on December 21, 2020, coinciding with the winter solstice. The concert features Pecknold performing an acoustic solo set inside the St. Ann & the Holy Trinity Church in Brooklyn.[46][47] It begins with a performance of "Wading in Waist-High Water" featuring the Resistance Revival Chorus, a collective of women and nonbinary singers. It features performances of songs from Shore and older Fleet Foxes songs, as well as cover versions of the traditional folk ballad "Silver Dagger" and the Bee Gees song "In the Morning". A Very Lonely Solstice is dedicated to Sam Jayne of the band Love as Laughter.[48]

On December 6, 2021, Fleet Foxes announced a digital release of the live album A Very Lonely Solstice for December 10, 2021. Vinyl and CD releases are scheduled for release in spring 2022 through Anti-.[49]

Critical reception

[edit]
Professional ratings
Aggregate scores
SourceRating
AnyDecentMusic?7.9/10[50]
Metacritic87/100[51]
Review scores
SourceRating
AllMusicStarStarStarStar[4]
Clash8/10[2]
Consequence of SoundB[52]
MojoStarStarStarStarStar[53]
NMEStarStarStarStar[54]
The ObserverStarStarStarStar[55]
Pitchfork8.3/10[56]
Rolling StoneStarStarStarStar[25]
The TimesStarStarStarStarStar[22]
Uncut9/10[57]

At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, Shore received an average score of 87 based on 19 reviews, indicating "universal acclaim".[51]

In the review for AllMusic, Timothy Monger praised the album: "As a collection, Shore emits a sense of coming through something and arriving anew with the welcome bruises that foster greater understanding and compassion."[4] Matthew Strauss of Pitchfork wrote that the album "looks to the world and realizes there is already enough, as if staring into a darkness and responding with beauty, acceptance, and light."[56] James McNair of Mojo rated the album 5 out of 5 stars, writing, "The vital spark that graced Fleet Foxes' debut is back."[53] Writing for The Observer, Kitty Empire was also similar in praise, writing, "Shore is full of richly embroidered gratitude; the play of the seasons and the influence of the elements is ever-present."[55] Will Hodgkinson of The Times gave the album a perfect score, writing "there's not a bad song among the 15 of them."[22] Michael Bonner of Uncut praised Pecknold's "soaring harmonies and jubilant, wide-open melodies."[57] Steven Johnson of musicOMH rated the album 5 out of 5 stars, calling it a "future classic" and commending Pecknold's "move to the centreground that shows his absorbing of musical influences is paying rich dividends."[58]

Jon Dolan of Rolling Stone called it "uniquely ambitious" while also the band's "catchiest" album to date, writing that the songs "compact their expansiveness into immediate pop packages" to underscore the album's theme of fighting "misery and doubt" through "simple human connection."[25] Robin Murray at Clash also commended the album, praising "how natural, how unhurried everything is" and called it "a broad record of real depth that contains moments of striking beauty."[2] Matt Bobkin of Exclaim! wrote, "No longer do they sound burdened by the need to commit to a particular mood; Pecknold sounds freer than ever to be himself."[59] Writing for Consequence of Sound, Lindsay Teske commended Pecknold's "thoughtful and openhearted" lyrics and praised the album's musical subtleties for making it a "conglomerate of detail" with rewarding discovery.[52] In a 5/10 review for Loud and Quiet, Tristan Gatward called the album "quickly stifled each time a redeeming chorus comes around" and wrote, "In a career first, Pecknold's lyrics feel rushed and insular, like we're watching smoke particles bounce around a small plastic container looking for the breathing hole."[60]

Year-end lists

[edit]
Year-end lists for Shore
Publication List Rank Ref.
BBC Radio 6 Music Albums of the Year 2020
3
[61]
Clash Albums of the Year 2020
34
[62]
Double J The 50 best albums of 2020
25
[63]
Exclaim! 50 Best Albums of 2020
49
[64]
Consequence of Sound Top 50 Albums of 2020
32
[65]
The Guardian The 50 best albums of 2020
30
[66]
The Line of Best Fit The Best Albums of 2020
29
[67]
Mojo The 75 Best Albums of 2020
5
[68]
musicOMH Top 50 Albums of 2020
16
[69]
NBHAP 50 Best Albums of 2020
21
[70]
Noisey The 100 Best Albums of 2020
17
[71]
Paste The 50 Best Albums of 2020
27
[72]
Pitchfork The 50 Best Albums of 2020
20
[73]
PopMatters The 60 Best Albums of 2020
23
[74]
Rolling Stone The 50 Best Albums of 2020
17
[75]
Spin The 30 Best Albums of 2020
10
[76]
Stereogum The 50 Best Albums of 2020
14
[77]
Uncut The Top 75 Albums of the Year
2
[78]
Under the Radar Top 100 Albums of 2020
8
[79]
Uproxx The Best Albums of 2020
12
[80]
USA Today The 10 best albums of 2020
7
[81]

Track listing

[edit]

All lyrics are written by Robin Pecknold, except lyrics in Portuguese on "Going-to-the-Sun Road" by Tim Bernardes; all music is composed by Robin Pecknold.

Shore track listing
No.TitleLength
1."Wading in Waist-High Water"2:15
2."Sunblind"4:13
3."Can I Believe You"4:04
4."Jara"4:09
5."Featherweight"3:50
6."A Long Way Past the Past"3:59
7."For a Week or Two"2:11
8."Maestranza"3:03
9."Young Man's Game"3:11
10."I'm Not My Season"3:11
11."Quiet Air / Gioia"4:27
12."Going-to-the-Sun Road"3:58
13."Thymia"2:22
14."Cradling Mother, Cradling Woman"5:10
15."Shore"4:19
Total length:54:22

Notes

Credits

[edit]

Credits adapted from the album's liner notes.[17]

Charts

[edit]
Chart performance for Shore
Chart (2020–2021) Peak
position
Australian Albums (ARIA)[83] 13
Austrian Albums (Ö3 Austria)[84] 50
Belgian Albums (Ultratop Flanders)[85] 3
Belgian Albums (Ultratop Wallonia)[86] 36
Dutch Albums (Album Top 100)[87] 16
German Albums (Offizielle Top 100)[88] 5
Irish Albums (OCC)[89] 16
Scottish Albums (OCC)[90] 3
Swedish Albums (Sverigetopplistan)[91] 54
Swiss Albums (Schweizer Hitparade)[92] 13
UK Albums (OCC)[93] 5
US Billboard 200[94] 28
US Top Rock Albums (Billboard)[95] 3

Notes

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Shore (album)

View on Grokipedia
from Grokipedia
Shore is the fourth studio album by the American indie folk band Fleet Foxes, surprise-released on September 22, 2020—the autumnal equinox—through Anti- Records.[1] The record comprises fifteen tracks totaling fifty-five minutes, primarily written, arranged, and produced by frontman Robin Pecknold, with engineering assistance from Beatriz Artola and contributions from band members and guests including Hamilton Leithauser and Wye Oak's Jenn Wasner.[2] Recorded amid the COVID-19 pandemic, it features lush, layered instrumentation blending folk, psychedelia, and chamber pop, exploring themes of personal renewal, impermanence, and tribute to departed collaborators such as producer Richard Swift.[3] The album's release coincided with a self-directed short film of the same length, visualizing its songs against Pacific Northwest landscapes, underscoring Pecknold's intent for communal listening in isolation.[3] Shore garnered widespread critical praise for its optimistic yet introspective tone and sonic ambition, with reviewers highlighting its departure from the band's prior angularity toward warmer, more accessible harmonies.[4] It earned a nomination for Best Alternative Music Album at the 64th Grammy Awards, marking Fleet Foxes' second such recognition, though it did not win.[5] Despite modest commercial peaks—such as #47 on the US Billboard 200 and #13 on the UK Albums Chart—the album solidified the band's reputation for meticulous, evocative songcraft.[6]

Background and context

Band's evolution post-Crack-Up

Following the release of Crack-Up on June 16, 2017, Fleet Foxes undertook an extensive world tour through 2018, performing the album's intricate, prog-inflected compositions to audiences across North America, Europe, and Australia.[7] However, the global COVID-19 pandemic, beginning in early 2020, halted live activities and prevented in-person collaboration among core members Robin Pecknold, Skyler Skjelset, Casey Wescott, and Christian Wargo.[8] This isolation prompted Pecknold to initiate songwriting during breaks from the Crack-Up tour cycle, evolving the band's process toward greater individual autonomy.[9] Pecknold recorded the bulk of Shore single-handedly starting in late 2019, handling vocals, guitars, keyboards, and percussion across sessions in upstate New York, Los Angeles, and other remote sites, with remote overdubs from bandmates and guests like Tim McCormack on horns.[10] This marked a departure from Crack-Up's collaborative studio dynamic under producer Phil Ek, underscoring Pecknold's emergence as the band's primary multi-instrumentalist and self-producer—a role amplified by pandemic constraints that rendered full-band tracking unfeasible.[11] No permanent lineup changes occurred; the core quartet remained intact, though the album's credits emphasized Pecknold's vision and ad-hoc contributors, reflecting a flexible, project-based evolution rather than dissolution.[8] Stylistically, this period signified a pivot from Crack-Up's fragmented, avant-garde structures—characterized by extended suites and dissonant explorations—to Shore's more immediate, luminous folk-rock, with emphasis on harmonic interplay and concise arrangements evoking the band's early pastoral roots.[12] Pecknold described the shift as intentional, aiming for warmth and accessibility amid personal and global uncertainty, including his own health scares like a 2017 surfing accident that lingered in his creative subconscious.[13] The resulting album, surprise-released on September 25, 2020, via Anti- Records, demonstrated the band's resilience, prioritizing Pecknold's unfiltered expression while preserving vocal signatures like layered falsettos and barbershop harmonies.[14] This self-reliant approach not only navigated external disruptions but also reinvigorated Fleet Foxes' output, setting a precedent for future releases blending core traditions with adaptive innovation.[15]

Personal and external influences

The creation of Shore was profoundly shaped by the deaths of several musicians Pecknold admired or collaborated with, including producer Richard Swift, who died on July 2, 2018, after battling acute hepatic failure related to alcoholism; Silver Jews frontman David Berman, who died by suicide on August 7, 2019; and folk singer John Prine, who passed away from COVID-19 complications on April 7, 2020.[16] These losses informed the album's reflective tone, with the track "Sunblind" explicitly invoking Swift, Prine, Berman, Elliott Smith, Bill Withers, Judee Sill, and Arthur Russell as guiding influences and kin.[17] Pecknold described the song as a tribute to these figures, emphasizing communal reliance amid personal grief. A personal near-death experience during a 2017 surfing accident off the California coast also influenced the album's titular imagery of the shore as a site of refuge and transition from peril to safety.[18] This incident, where Pecknold narrowly escaped drowning, underscored themes of vulnerability and renewal.[18] Externally, the COVID-19 pandemic prompted Pecknold to accelerate the album's surprise release on September 25, 2020, amid global uncertainty, while fostering lyrical yearnings for nature and the Pacific Northwest from urban isolation.[15][19] Pecknold sought a "liminal space outside of time," blending past and future to evoke spiritual universality beyond contemporary crises.[3] Musical inspirations included Brian Wilson's harmonic innovations, Curtis Mayfield's soulful grooves, and Chilean activist Víctor Jara, whose name titles a track honoring resilience against oppression.[20][13]

Production

Songwriting process

Robin Pecknold began the songwriting for Shore in September 2018, immediately following the conclusion of the 170-show world tour supporting the band's previous album, Crack-Up.[3] He developed initial demos during this period, including sessions in Portugal, and committed to daily writing sessions while retaining only the strongest ideas.[3] Pecknold composed much of the album's music on piano, departing from his typical guitar-based approach, which influenced the resulting harmonic structures and textures.[21] The process emphasized focused ideation followed by subconscious refinement, where Pecknold would concentrate on core musical or lyrical concepts before allowing intuitive development to shape the songs.[22] He aimed for brevity and variety in the tracks, contrasting the denser arrangements of Crack-Up with a brighter, more comforting aesthetic intended as a yin-yang complement to its predecessor.[22] Some elements drew from earlier sketches, such as the track "Sunblind," which originated from a 2014 demo and evolved through iterative revisions into a fuller arrangement.[23] Lyrics were composed after the music, often via a cut-and-paste method assembling phrases from accumulated notes, though finalization proved challenging until June 2020, when Pecknold wrote them during solitary drives in quarantine.[21][3] This approach yielded themes of relief and celebration amid uncertainty, reflecting personal experiences like the early COVID-19 pandemic lockdowns.[22]

Recording and self-production

Robin Pecknold self-produced Shore, taking full creative control as the band's frontman and primary songwriter, which allowed for an iterative process shaped by his personal evolution following the Crack-Up tour.[1][24] Sessions occurred over two years, from September 2018 to September 2020, spanning locations such as Hudson, New York; Paris, France; Los Angeles, California; Long Island City, New York; New York City; and Electric Lady Studios in Greenwich Village.[1][25] Pecknold worked closely with recording and mixing engineer Beatriz Artola, whose involvement began with the album's initial tracking sessions and contributed to its polished, expansive sound through meticulous capture of layered instrumentation and vocals.[3][26][27] In line with the self-produced ethos, Pecknold performed most instruments himself—including guitars, bass, piano, synths, and lead vocals—while incorporating limited external contributions, such as from band members and session musicians, to enhance specific tracks without relying on a traditional band ensemble during core recording.[28][26] This approach, conducted partly in isolation during quarantine, enabled Pecknold to refine arrangements organically, drawing on influences like Arthur Russell to achieve a balance of intimacy and orchestral breadth.[26]

Musical style

Genre and instrumentation

Shore exemplifies indie folk with infusions of chamber pop and folk-rock, marked by expansive, orchestral textures and intricate vocal layering that evoke pastoral introspection.[29][4] The album's sound refines Fleet Foxes' signature harmonies into a warmer, more propulsive framework, incorporating baroque pop flourishes through dynamic shifts in density and timbre.[29][30] Instrumentation centers on Robin Pecknold's multi-tracked performances of acoustic and classical guitars, piano, bass, synthesizers, and lead vocals, augmented by guest contributions for rhythmic and textural depth.[2] Drums and percussion, provided by Homer Steinweiss, Joshua Jaeger, and Christopher Bear, drive subtle grooves, while horns from the Westerlies quartet add brassy swells on select tracks.[3][2] Additional elements include violin and viola by Marta Sofia Honer, vibraphone, Orchestron poly-synth, and exotic percussion such as Mahayana temple blocks and taiko drums, sourced from historic studio gear like the vibraphone used on the Beach Boys' Pet Sounds.[3] Electric guitars, organs, and harpsichords further enrich the palette, yielding lush arrangements that blend organic warmth with subtle electronic hints.[4][3]

Arrangements and influences

The arrangements on Shore were led by Robin Pecknold, who self-produced the album with engineering and mixing by Beatriz Artola, emphasizing intricate, textured layers that build a buoyant and lively atmosphere across tracks. Horn arrangements were provided by the brass quartet The Westerlies—comprising Andy Clausen, Chloe Rowlands, Riley Mulherkar, and Willem de Koch—adding rhythmic propulsion and melodic depth, particularly evident in songs like "A Long Way Past the Past" where shifting guitar lines intertwine with harmonies and crisp percussion. Vocal arrangements on multiple tracks were crafted by Meara O’Reilly, incorporating contemporary classical techniques such as hocketing in "Jara," which contributes to the album's prog-folk expansiveness while maintaining elemental simplicity.[3][29] Recording took place across several studios, including Long Pond, Studios St. Germain, Electro-Vox, and Diamond Mine, utilizing distinctive instruments such as Frank Sinatra's drum kit and the vibraphone from the Beach Boys' *Pet Sounds* sessions to evoke a sense of historical continuity and warmth. These choices support Pecknold's aim for melodically feathery yet rhythmically driven compositions, evolving from the ambitious structures of prior works like Crack-Up into even more layered forms that prioritize fluidity and emotional uplift.[3][29] Shore draws from a broad array of influences, as articulated by Pecknold, including Arthur Russell, Curtis Mayfield, Nina Simone, Van Morrison, João Gilberto, and Tim Bernardes, whose works inspired the album's blend of complex arrangements with propulsive rhythms and light, soaring melodies. The track "Sunblind" explicitly honors deceased musical heroes such as Richard Swift—to whom the album is dedicated alongside J. Spaceman—John Prine, Judee Sill, Elliott Smith, David Berman, Bill Withers, and Otis Redding, channeling their legacies into lyrics and sonic tributes that celebrate life amid loss. Additional nods appear through sampled elements, like Brian Wilson's voice and Philip Glass-inspired minimalism in "Cradling Mother, Cradling Woman," reflecting Pecknold's reverence for innovative songcraft across genres.[3][29]

Themes and lyrics

Lyrical content

The lyrics of Shore, penned primarily by Robin Pecknold, emphasize introspection, mortality, and resilience, often framed through natural imagery and personal reckoning. Pecknold has described the album's lyrical intent as crafting "something bright and comforting" amid underlying struggles, with themes of loss reframed as celebration of enduring legacies.[22] For instance, "Sunblind" pays tribute to departed musical influences by portraying their memory as a form of immortality, shifting grief toward communal joy and continuity.[22] Recurring motifs include relational trust, temporal flux, and detachment from past burdens. In "Can I Believe You," Pecknold probes vulnerability and doubt in connections, using inverted phrasing to mirror emotional inversion.[22] Tracks like "A Long Way Past the Past" and "Young Man's Game" confront aging and youthful delusions, the latter drawing humorous inspiration from folk singer John Prine to underscore insecurities as transient.[22] Gratitude emerges in songs such as "Featherweight" and "Thymia," reflecting on fortune amid isolation and crediting music's solace during drives and lockdowns.[22] The title track and overarching symbolism evoke the shore as a liminal space of refuge confronting chaos, symbolizing life's precarious balance between stability and the unknown.[2][14] Political and activist undertones appear in "Jara," honoring figures akin to Chilean musician Víctor Jara, while "Maestranza" counters societal deceit with calls for clarity and hope.[22] Romantic and familial elements surface in "Going-to-the-Sun Road" and the closing "Cradling Mother, Cradling Woman," blending wanderlust with collaborative affirmation.[22] Overall, the lyrics prioritize release and timeless essence over seasonal despair, as in "I'm Not My Season," advocating detachment from ephemeral states.[22]

Existential and spiritual elements

The album Shore grapples with existential concerns such as mortality, the passage of time, and human limitations, framed as a response to personal and collective losses, including the deaths of influential musicians like Richard Swift and others honored in the liner notes.[3] Frontman Robin Pecknold has described the record's core aim as celebrating "life in the face of death," drawing from his own near-death surfing incident in 2017, during which he believed he would drown, leading to a profound relief upon survival that reshaped his perspective on existence.[21][13] This event, coupled with the 2020 pandemic's isolation, infuses tracks with reflections on impermanence, as seen in lyrics contemplating regret, aging, and the futility of clinging to youth in songs like "Young Man's Game."[22] Spiritually, Shore posits an eternal essence beyond temporal bounds, with Pecknold articulating a desire for the album to occupy a "liminal space outside of time," accessing "something spiritual or eternal" that transcends eras.[3] In "Sunblind," dedicated to departed figures including Swift, Elliott Smith, and J. Mascis's father, he explicitly explores the soul's persistence: "This song is trying to place the idea of spirit in this place outside of time and then the comfort of that," offering solace amid grief through imagery of light and renewal.[22] Nature serves as a conduit for this transcendence, with recurring motifs of shores, suns, and equinoxes symbolizing cycles of decay and rebirth, evoking a pantheistic reverence rather than doctrinal faith—Pecknold notes the autumnal equinox release date aligns with themes of balance between light and dark, life and oblivion.[29][31] These elements coalesce in an affirmative stance against dread, prioritizing communal bonds and acceptance over despair; Pecknold contrasts Shore's bright comfort with prior works' angst, viewing it as a "pragmatic antidote" to existential voids, grounded in empirical encounters with loss rather than abstract philosophy.[22][32] Critics observe this yields nuanced resolution—time's arrow bends toward consolation via shared human frailty—without resolving into naive optimism, as shadowed by unyielding finality in tracks like "Thymia," which probes isolation's quiet revelations.[29][33]

Artwork and title

Visual design

The visual design of Shore centers on black-and-white photographs by Japanese photographer Hiroshi Hamaya, whose work documents rural and elemental landscapes from mid-20th-century Japan. The front cover features a solitary figure walking along a snow-swept shoreline toward distant mountains, conveying a sense of vast isolation, while the back cover employs a similar stark coastal vista.[34][35] Layout and overall design were executed by Benjamin Tousley in close collaboration with Fleet Foxes frontman Robin Pecknold, incorporating mood boards and iterative feedback during the 2020 pandemic lockdowns to translate the album's emotional urgency into visual form.[36] The gatefold interior includes a photograph by Kersti Jan Werdal, alongside stills extracted from the album's music videos, enhancing the immersive presentation.[35][37] Vinyl editions utilize an old-style double gatefold jacket with black inner polybags, a 24-by-24-inch poster insert, and a custom sticker bearing a printed message from Pecknold; one disc features an etching for added aesthetic detail.[38] CD versions come with an eight-page full-color booklet on premium stock containing lyrics and supplementary imagery.[34] These elements collectively emphasize tactile, analog craftsmanship, aligning with the album's folk-indebted ethos.[39]

Symbolic meaning

The title Shore evokes a liminal boundary symbolizing safety poised against uncertainty, as articulated by Fleet Foxes frontman Robin Pecknold in the album's artist statement. He describes it as "a place of safety on the edge of something uncertain, staring at Whitman's waves reciting 'death,'" alluding to Walt Whitman's poetic imagery of mortality in works like Leaves of Grass, where waves represent inexorable death.[3] This conceptualization frames the shore not merely as a geographical edge between land and sea, but as a metaphysical threshold tempting exploration of the unknown while evoking fear of oblivion, aligning with the album's broader meditation on life's fragility.[3] Pecknold positions Shore as a celebration of vitality confronting mortality, with the title encapsulating themes of resilience, gratitude, and existential equilibrium. The release date of September 22, 2020—coinciding with the autumnal equinox—further underscores this symbolism, marking a seasonal pivot mirroring the album's balance between harvest-like abundance and impending decay.[3] In the title track, Pecknold interprets the shore as an epilogue expressing appreciation for influences and loved ones amid personal and collective upheavals, reinforcing its role as a site of reflective stability.[22] The album's visual artwork amplifies these motifs through shoreline imagery on the cover, photographed by Pecknold himself, which visually manifests the titular edge as a serene yet precarious divide.[40] Accompanying illustrations feature floral elements corresponding to each song, interpreted by fans and live event materials as symbolic of ephemerality and growth—such as transient blooms evoking life's cycles—though Pecknold has not publicly detailed their precise intent beyond thematic cohesion with the record's organic, nature-infused aesthetic.[41] This design choice extends the shore's symbolism to motifs of renewal amid loss, consistent with homages to deceased artists like Elliott Smith and Richard Swift woven into the lyrics and dedications.[22]

Release and promotion

Rollout strategy

Fleet Foxes opted for a surprise digital release of Shore on September 22, 2020, at exactly 1:31 PM UTC (9:31 AM ET), aligning precisely with the moment of the autumnal equinox.[1][14] The album was announced via social media and the band's official channels only 24 hours earlier, on September 21, eschewing a conventional multi-month promotional campaign with advance singles.[42][43] This strategy, as articulated by frontman Robin Pecknold, aimed to create a "liminal space outside of time" for the record, prioritizing direct listener immersion over hype-driven anticipation.[3] Accompanying the digital drop was Pecknold's detailed artist statement, which outlined the album's conceptual intent to celebrate life amid mortality, and a 55-minute visual film featuring the full tracklist.[3][44] Physical formats, including a double-gatefold 2LP vinyl, were delayed until February 5, 2021, via ANTI- Records, allowing the initial rollout to focus exclusively on streaming and download platforms.[14][45] The abbreviated promotion—conducted amid the COVID-19 pandemic—eschewed live events or extensive media previews, compelling critics and fans to evaluate the complete 15-track, 55-minute album upon arrival rather than fragmented previews.[46]

Companion releases

The album Shore was accompanied by a 55-minute art film of the same name, directed, shot, edited, designed, and cast by Kersti Jan Werdal, which premiered on September 22, 2020, coinciding with the album's release.[47] The film, shot on Super 16mm, depicts Northwest American landscapes along with the people and animals inhabiting them in a road-movie style, serving as a visual complement to the album's themes without direct synchronization to the music.[48] Limited socially distanced outdoor screenings of the film were later organized in select locations.[49] On December 4, 2020, Fleet Foxes released Shore (Stems Edition) exclusively on Bandcamp, comprising over 200 isolated audio stems totaling more than eleven hours, allowing users to remix and reimagine the tracks, though not royalty-free.[50] This edition provided individual instrumental and vocal elements for each song, such as synths, drums, and harps, extending the album's accessibility for creative reinterpretation.[51]

Post-release editions

Following the album's digital release on September 22, 2020, Fleet Foxes issued the Shore (Stems Edition) on December 4, 2020, exclusively via Bandcamp. This variant comprises 201 isolated audio stems across the 15 tracks, totaling over eleven hours of material, including separated elements such as vocals, drums, guitars, synths, and harp.[50] The release encouraged fan remixing and reinterpretation, though the stems were not designated as royalty-free for commercial use.[50] It catered to producers and enthusiasts seeking granular access to the album's layered folk-rock arrangements, distinct from the standard mixed version.[51] In 2025, marking the fifth anniversary of the album, repressings of Shore on 180-gram double vinyl were produced and distributed through retailers, maintaining the original tracklist and gatefold packaging but utilizing heavier pressing stock for improved audio fidelity and durability.[52] These editions included standard black vinyl, with some outlets offering limited colored variants akin to prior indie exclusives, though no new remixes, bonus tracks, or alterations to the master were introduced.[53] The represses addressed ongoing demand for physical copies following sell-outs of initial 2021 runs, without official confirmation of enhanced mastering.[54] No cassette or deluxe expanded editions have been announced post-2020.[2]

Reception

Critical reviews

Shore received widespread critical acclaim upon release, with reviewers praising its lush harmonies, introspective lyricism, and evolution of Fleet Foxes' folk-rock sound toward greater warmth and accessibility compared to the denser arrangements of 2017's Crack-Up.[55] The album aggregated a Metacritic score of 86 out of 100, based on 33 reviews, indicating "universal acclaim" under the site's methodology.[55] Pitchfork designated it "Best New Music" with an 8.3 rating, commending Robin Pecknold's refined production that yields "crisp folk-rock" full of emotional depth and musical adventure.[29]
PublicationScoreKey Assessment
Rolling Stone4/5 stars"Deeply pleasant vibes with high-flying studio ambition," emphasizing themes of letting go and gratitude amid its soft-rock experimentation.[4]
UncutPositive (implied high)"A beautiful record" warranting repeated listens for its immersive qualities.[56]
musicOMHPositive"Glorious, life-affirming collection" reflecting Pecknold's assimilated influences into centrist folk.
Critics highlighted the album's serene, nature-infused soundscapes and vocal interplay as strengths, with The Guardian noting its depiction of liminal states in a comeback context alongside peers like Sufjan Stevens.[57] Some dissent emerged regarding pacing and relative simplicity; for instance, one review described it as "disappointing and straightforward" in the band's context, lacking prior euphoric highs, though still a "solid" folk effort.[58] Overall, the consensus affirmed Shore's consistency and meditative appeal, positioning it as a rewarding entry in Fleet Foxes' discography.[33]

Positive achievements

Shore garnered an aggregate score of 86 out of 100 on Metacritic, based on 31 critic reviews, indicating "universal acclaim."[55] Individual publications contributed high marks, including a perfect 100 from Mojo, which praised the album for recapturing the "vital spark" of Fleet Foxes' debut.[55] Uncut described it as a "beautiful record" warranting repeated listens.[56] The album received a nomination for Best Alternative Music Album at the 64th Annual Grammy Awards in 2022, recognizing its artistic merit among alternative releases.[5] Critics highlighted its lush harmonies, rhythmic vitality, and thematic depth as standout elements, with Forbes noting it as one of the year's strongest albums upon its surprise release on September 25, 2020.[43]

Criticisms and dissenting opinions

Some critics contended that Shore represented a relative step down in immediacy and accessibility compared to Fleet Foxes' earlier albums. Matt Mitchell of Paste magazine wrote that, upon initial listens, the record "lacks the immediacy of Fleet Foxes and 2011's Helplessness Blues—at least from a sonic standpoint," attributing this to its more expansive, less hook-driven arrangements.[16] Others highlighted a perceived diffuseness in focus and structure. In The Line of Best Fit, Jack Bray assessed that "Shore lacks the razor focus of previous releases," arguing that its 55-minute runtime and experimental leanings occasionally dilute the band's melodic precision, even as they expand its textural palette.[59] Reviewers also pointed to inconsistencies in songwriting quality, particularly in the album's second half. A Arts Fuse critique identified "a few weak spots... toward the back end, where there is an occasional lapse in songwriting," despite praising the lush production elsewhere, suggesting that tracks like "Thymia" and "Jara" fail to sustain the earlier momentum.[33] In Anthony Fantano's review for The Needle Drop, the album was described as finding Fleet Foxes "stumbling on a few risks," with some arrangements veering into overly ambient territory that undercuts rhythmic drive, though these flaws were framed as minor amid broader strengths.[60]

Year-end and retrospective lists

Shore featured on multiple critics' year-end lists for 2020, underscoring its reception as a highlight amid a year marked by diverse releases in indie folk and alternative genres.[61] Publications such as Pitchfork included it among the 50 best albums, praising its unannounced drop and immersive qualities as a counterpoint to broader musical trends.[62] Similarly, Under the Radar placed it in its top 100 albums, noting its dense and joyful construction as a rare positive surprise in the year's output.[63] Other outlets highlighted its strengths in curated selections: The New Yorker incorporated it into its top ten favorite albums, emphasizing its role alongside works by artists like Bob Dylan in capturing 2020's reflective mood.[64] Uncut ranked it within the 75 best, while the Observer's Kitty Empire selected it for her ten best, and Far Out Magazine included it in its 50 best.[61] OOR positioned it at number 19 in its annual best albums list.[65] The following table summarizes select year-end placements:
PublicationRankNotes
PitchforkTop 50Included for its surprise release and stylistic evolution.[62]
Under the RadarTop 100Highlighted as a pleasant, dense standout.[66]
The New YorkerTop 10Part of annual favorites reflecting thematic depth.[64]
OOR19Ranked among diverse indie and alternative releases.[65]
UncutTop 75Featured in broad critical survey.[61]
Retrospective assessments have positioned Shore favorably in aggregate rankings of 2020 releases, with Best Ever Albums rating it 8th for the year based on user and critic data accumulation.[67] Rate Your Music users ranked it 99th among 2020 albums, valuing its indie folk and chamber pop elements.[68] These placements reflect sustained appreciation without major shifts from initial acclaim, though comprehensive decade retrospectives remain limited as of 2025.

Commercial performance

Chart positions

Shore reached number 28 on the US Billboard 200 chart, marking its peak position with three weeks on the chart as of April 2021.[69] In the United Kingdom, the album debuted at number 9 on the Official Albums Chart Update before peaking at number 5 on the main Official Albums Chart, spending two weeks in the top 100; it also peaked at number 3 on the Scottish Albums Chart with seven weeks charted.[6]
Chart (2020–2021)Peak position
US Billboard 20028
UK Official Albums Chart5
UK Scottish Albums Chart3

Sales and certifications

Shore debuted at number 28 on the US Billboard 200 chart in October 2020.[70] The album has not received any certifications from the Recording Industry Association of America (RIAA) or equivalent bodies in other major markets, such as the British Phonographic Industry (BPI).[71] Detailed pure sales or equivalent album units beyond initial chart entry have not been reported by Anti- Records or Billboard.[72]

Legacy

Cultural impact

The surprise release of Shore on September 25, 2020, during the early months of the COVID-19 pandemic, positioned the album as a cultural touchstone for escapism and emotional resilience, with its pastoral themes of nature, renewal, and gratitude offering listeners a counterpoint to widespread isolation and uncertainty.[73][74] Reviews and fan discussions highlighted its role in providing solace, evoking a sense of security akin to sighting land after turmoil, amid a year marked by collective grief.[75][21] A key element of the album's cultural resonance lies in its explicit tributes to deceased indie and folk musicians who shaped frontman Robin Pecknold's artistry, particularly the track "Sunblind," which enumerates nearly 20 such figures—including Richard Swift (died 2018), John Prine (died April 7, 2020), Elliott Smith (died 2003), and David Berman (died August 7, 2019)—as an ode to their enduring influence and a meditation on mortality.[76][77][78] Pecknold described the album as a "celebration of life in the face of death," framing these homages as acts of gratitude that ripple through the indie folk community, preserving the legacies of these artists in a moment of heightened awareness of loss.[24][40] Shore further contributed to the ongoing revival of indie folk by demonstrating the genre's adaptability, blending lush harmonies with introspective lyrics that inspired subsequent works in the folk-country boom of the early 2020s, while reinforcing Fleet Foxes' status as a foundational influence on modern folk acts seeking emotional depth amid sonic experimentation.[79][80] Its unannounced drop, timed to Pecknold's birthday and echoing strategies by artists like Taylor Swift, also exemplified a shift toward direct-to-fan releases, bypassing traditional promotion in favor of immediate cultural immersion.[43]

Influence on band and genre

Shore signified a maturation in Fleet Foxes' sound, adopting a brighter, more accessible folk-rock style that diverged from the intricate, introspective arrangements of their 2017 album Crack-Up.[81] Frontman Robin Pecknold handled much of the recording independently during the initial COVID-19 lockdowns, expanding his production skills and integrating collaborators such as Homer Steinweiss and Paul Spring from Holy Hive, alongside posthumous contributions from the late Richard Swift.[3] This process, culminating in a surprise release on September 25, 2020, refreshed the band's creative output after a prolonged break, with Pecknold citing the era's uncertainties as catalyzing a focus on renewal and outward-oriented themes.[21] The album's emphasis on joyous, collaborative elements influenced Fleet Foxes' trajectory by prioritizing immediacy and generosity over prior works' density, earning acclaim as their most rewarding effort since the 2008 debut.[21] Pecknold's reflections in interviews highlighted how grappling with personal losses—including those of influences like John Prine and David Berman—infused Shore with a legacy-conscious ethos, fostering resilience in the band's songwriting amid global turmoil.[19] This shift underscored Pecknold's evolution as the band's primary creative force, enabling flexible, isolation-born experimentation that sustained momentum without full-band involvement.[82] Within the indie folk genre, Shore contributed to its diversification by blending traditional acoustic harmonies with soulful rhythms and psychedelic flourishes, offering a counter to prevalent melancholic strains.[81] Its tributes to forebears like Elliott Smith and Bill Withers positioned Fleet Foxes as bridges between folk heritage and contemporary eclecticism, though direct genre-wide emulation remains limited as of 2025.[83] Critics observed the album's sunny disposition as emblematic of indie folk's potential for levity, potentially inspiring subtle shifts toward warmer, more inclusive productions in peer acts.[84]

Album components

Track listing

All tracks are written by Robin Pecknold.[85]
No.TitleLength
1."Wading in Waist-High Water"2:15
2."Sunblind"4:13
3."Can I Believe You"4:04
4."Jara"4:09
5."Featherweight"3:50
6."A Long Way Past the Past"3:59
7."For a Week or Two"3:27
8."Maestranza"3:12
9."Young Man's Game"3:38
10."Couch"4:14
11."Quiet Air / Gioia"4:59
12."Going-to-the-Sun Road"4:09
13."Thymia"3:52
14."Cradling Mother, Cradling Woman"4:01
15."Shore"4:19
The album's total length is 54 minutes and 29 seconds.[2][39][86]

Credits and personnel

Robin Pecknold served as the primary producer, writer, arranger, and performer on Shore, handling lead vocals, guitars, bass, piano, synthesizers, and additional instrumentation across the album.[3][2] The project was largely a solo endeavor by Pecknold, with select guest contributions rather than full-band involvement from Fleet Foxes members.[3] Additional performers
  • Uwade Akhere – backing vocals (tracks 1, 3, 15)[2][14]
  • Georgiana Leithauser – vocals[2]
  • Kevin Morby – backing vocals (track 2, "Sunblind")[3][14]
  • Daniel Rossen (Grizzly Bear) – guitar and additional instrumentation (track 11, "Cradling Mother, Cradling Woman")[14]
  • The Westerlies (brass ensemble): Riley Mulherkar and Chloe Rowlands – trumpet; Andy Clausen and Zubin Hensler – trombone (tracks 1, 2, 6, 12–15)[14]
  • Brian Wilson – harp sample from "'Til I Die" (Beach Boys, incorporated into track 2, "Sunblind")[3]
Technical staff
  • Beatriz Artola – recording engineer, mixing[87]
  • Joe LaPorta – mastering (Sterling Sound)[87]
  • Additional engineering assistance: Chris Cerullo, Jens Jungkurth, Jon Low, Paul Spring, and others at Long Pond and Electric Lady Studios[35]
The album incorporates field recordings and samples honoring deceased influences like J.S. Ondara, Richard Swift, and David Berman, integrated into arrangements without specific credited performances.[3]

References

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  2. Shore - Fleet Foxes - Bandcamp
  3. Fleet Foxes - Shore - Artist Statement | Press - Anti Records
  4. Album Review: Fleet Foxes, 'Shore' - Rolling Stone
  5. Fleet Foxes | Artist - GRAMMY.com
  6. SHORE – FLEET FOXES - Official Charts
  7. Inside Fleet Foxes' Disappearance and Rebirth - Rolling Stone
  8. Does anyone know what's up with the rest of the band? : r/fleet_foxes
  9. Can I Believe You - Song of the Day for Today
  10. KUTX at Home: Robin Pecknold of Fleet Foxes 10.16.20
  11. An enlightening interview with Robin Pecknold of Fleet Foxes
  12. Fleet Foxes : Shore - Treble
  13. Fleet Foxes – Robin Pecknold on “Shore” - Under the Radar Magazine
  14. Fleet Foxes Release New Album Shore: Listen | Pitchfork
  15. Fleet Foxes' Robin Pecknold on what inspired the band's surprise ...
  16. Fleet Foxes Manifest Peace on Surprise New Album Shore
  17. Fleet Foxes' New LP 'Shore' Features a Musical Homage to John ...
  18. Fleet Foxes Explain the Terrifying Near-Death Experience That ...
  19. Robin Pecknold of Fleet Foxes talks about making 'Shore'
  20. Fleet Foxes Robin Pecknold — Brian Wilson
  21. Robin Pecknold's Season of Rebirth - Rolling Stone
  22. Robin Pecknold breaks down every song on Fleet Foxes' 'Shore'
  23. How Fleet Foxes' Robin Pecknold Writes a Song - Rolling Stone
  24. Shore - Record Collector Magazine
  25. Fleet Foxes Releases 'SHORE', Recorded at Electric Lady
  26. Fleet Foxes - Fort William Artist Management
  27. Beatriz Artola
  28. Episode 51: Robin Pecknold of Fleet Foxes - Tape Op
  29. Fleet Foxes: Shore Album Review | Pitchfork
  30. Fleet Foxes – Shore - UNCUT
  31. Fleet Foxes on the Existential Shore - Think Christian
  32. A Review of Fleet Foxes' Shore | The Forum
  33. Folk Album Review: Fleet Foxes' "Shore" - Finding Serenity in ...
  34. https://store.fleetfoxes.co/products/shore-cd
  35. https://www.discogs.com/release/17862211-Fleet-Foxes-Shore
  36. Interview: Ben Tousley on Designing for Fleet Foxes and Rostam
  37. Shore | 2x180g Black Vinyl - Kings Road Merch Europe
  38. https://store.fleetfoxes.co/products/shore-double-vinyl
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  40. fleet foxes // shore - Major Third // music notes
  41. All Shore Illustrations - Side by Side : r/fleet_foxes - Reddit
  42. The curious tale of Fleet Foxes' surprise album - Double J - ABC News
  43. Sunday Conversation: Fleet Foxes On Making 'Shore,' Being ...
  44. Fleet Foxes 4th Album 'Shore' to be released 9/22 at 13:31 UTC with ...
  45. Fleet Foxes - Facebook
  46. Autumn Hymnal: The Story of Fleet Foxes' 'Shore,' Their ... - The Ringer
  47. Fleet Foxes Are Timing Their New Album 'Shore' to Autumnal Equinox
  48. Watch Fleet Foxes' New Hour-Long Film Shore, Directed by Kersti ...
  49. Screenings - Fleet Foxes
  50. Shore (Stems Edition) - Fleet Foxes - Bandcamp
  51. @fleetfoxes' 'Shore (Stems Edition)' is out today exclusively on ...
  52. https://elusivedisc.com/fleet-foxes-shore-2025-repress-180g-2lp/
  53. https://loudpizza.com/products/fleet-foxes-shore-2025-reissue
  54. Fleet Foxes - Shore - Vinyl, CD - (Clear LP, Blue LP, Tape, CD, LP)
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  56. https://twitter.com/metacritic/status/1308959663925256192
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