Islands

Arm's Way (ANTI-)

By Emily Becker
Published: May 22nd, 2008 | 3:01pm

Nick Thorburn may have been “born a Unicorn,” but on Arm’s Way he evolves. Islands’ 2006 debut, Return to the Sea pleased fans because it was reminiscent of the Unicorns but Arm’s Way will please fans because it leaves Thorburn’s previous recordings behind. Thorburn’s recent abandonment of his stage name, “Nick Diamonds,” furthers his willingness to break with the past.

Arm’s Way is an epic that touches on big themes, like death and dismemberment, big sounds, with string arrangements to rival Arcade Fire, and big emotions, like fear and paranoia. Compared to Return to the Sea’s sprawl, the songs on Arm’s Way are controlled, with most clocking in at less than five minutes. Yet, in spite of being reigned in, the songs retain their depth. The ebullience of Return to the Sea's memorable "Rough Gem," is gone. Songs like “The Arm,” “Creeper,” and “Pieces of You” embody the frightful. Even “Abominable Snow,” a live staple from the Unicorns era, sounds darker in its current context. But the songs are not weighed down or gloomy; “Creeper” is twisted, but hook-laden and instantly catchy.

The record’s subject matter notwithstanding, Thorburn is never completely serious. He still cannot resist playing with language. The album’s title refers both to “the Arm” as well as evoking the phrase “Harm’s Way.” On “J’aime Vous Voire Quitter,” Thorburn addresses the departure of drummer J’aime Tambeur (Jamie Thompson), also an ex-Unicorn, with whom Thorburn started Islands and Th’ Corn Gang. The title translates to, “I love to see you leave,” but can also be read as a direct address to Tambeur. While it’s always best to tread lightly when interpreting Thorburn’s songs, “J’aime Vous Voire Quitter,” ends in an upbeat burst of tropicalia,, suggesting that, perhaps, its creation was cathartic for Thorburn.

Changes in Thorburn’s vocal delivery help give Arm’s Way’s its new sound. Gone is the nasal twang that was his hallmark; he sounds downright Bowie-esque at times (“Kids Don’t Know Shit”) with shades of Morrissey (“Abominable Snow,” “Life in Jail”) or Thom York (“In the Rushes”). Not that his talented band doesn’t carry its weight — they do — but now, sans Tambeur, Islands is utterly Thorburn’s. No matter how Thorburn chooses to approach music, or what he calls himself, he will continue to surprise audiences with his mercurial approach to music.

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