For anyone seeking an escape from the subzero temperatures on their journey across campus, the latest release from José González, Vestiges & Claws, may be the perfect self-medication. Suggesting the music of the melancholic Icelandic singer-songwriter may seem like strange advice, but the music conveys an uplifting, warm quality capable of brightening even the East Campus Mall wind tunnel.
If any skepticism remains, take a look at González’s music video for the album’s second single, “Leaf Off / The Cave.” Upon first watching it, the influence from the hyper-ironic society we live in may degrade the true meaning of the video. The inclusion of mohawked teenagers, mentally handicapped men and a man in drag may initially appear to create an absurd video. On the contrary, González’s intent in showing these people is to celebrate life on the fringes of society, creating a happily sentimental and inspirational video to accompany his reassuring lyrics.
But it would be disingenuous to say the rest of González’s new album can match the warm feeling produced by “Leaf Off / The Cave.” While the rest of the album is equally emotionally and philosophically evocative, they pack their punches in different ways. With complex acoustic guitar instrumentation, wonderful vocal melodies and a distinct voice, combined with thought-provoking lyrics, González has crafted an album that will withstand the test of time.
González’s first solo album since 2007, Vestiges & Claws is very much a continuation of where he left off. His two prior solo albums, Veneer and In Our Nature, feature intricate guitar patterns, minimalist instrumentation and soft, nuanced vocals. Vestiges is much of the same. While still gentle in presentation and strikingly beautiful in production, Vestiges distinguishes itself with some instrumental flair and heavy, expressive lyrics.
While González’s two previous solo releases contained little to no percussion, it appears multiple times on Vestiges. It doesn’t come in conventional drum-kit percussion, but rather with repeated snaps and claps. This effect adds another layer to tracks such as “Let it Carry You” and “Leaf Off / The Cave,” both of which would be far less enjoyable sans the human percussion.
Lyrically, González focuses on heavier existential topics. Some songs tackle what it means to be alive; on“Let it Carry You,” he seems to be warning of living life too fast and not pausing enough to reflect. González sings, “Remind our restless souls / Of the beauty of being here at all / Let it carry you away.” The pauses between words and the swell on the “being here at all” lyric accentuate just how precious life is.
In the lead single “Every Age,” González advocates the merits of self-improvement and goodwill toward others. Incorporating metaphors such as the growth of a tree and tending a garden, he suggests personal development can, and should be, used for the benefit of all humanity. “Build a place where we all belong,” he sings.
But the most prominent theme on this album is mortality, and not just personal mortality, but that of the human species as a whole. The album’s centerpiece, “What Will,” asks what will remain of us once we’re gone. The answer happens to be the title of the album: vestiges and claws. The penultimate track, “Afterglow,” carries on the mortality motif. In the song González expresses the belief that humans are just a passing phenomenon on this Earth, “All of this will be gone someday / You and me and everyone / the memories and traces, an afterglow.”
As evidenced in lyrics like this, González’s album is much less a happy pill but more of an album that makes us ask: why? Looking into existential matters and colossal moral concerns mixes well with González’s musical style. His instrumentation provides a sense of comfort and an anchor, while his lyrics on this album allow your mind space to explore these abstract ideas.
