Owen - ‘The Falls Of Sioux’ review
Owen by Alexa Viscius
Earlier today Owen the solo project of legendary American Football frontman Mike Kinsella shared their latest album The Falls Of Sioux via Polyvinyl/Big Scary Monsters. As is the case with pretty much everything that Kinsella touches the record is a thing of pure beauty that hits deep in the soul. The Falls Of Sioux is a continuation and evolution of Mike Kinsella’s profound songwriting journey. Through Owen, Kinsella not only revisits the emotional landscapes that have shaped him but also explores new musical territories with a refreshing boldness. Kinsella's craftsmanship reaches new heights, weaving intricate melodies with raw, introspective lyrics that reflect a seasoned artist who has navigated considerable personal upheaval.
The album's richer, more ornate production compared to its predecessors marks a significant step in Kinsella’s artistic evolution. With collaborators like Sean Carey and Zach Hanson returning to co-produce, and contributions from Now, Now’s KC Rae (one of our absolute favourites of all time) amongst others, the fabric of the album is both lush and complex. Russell Durham's string arrangements add a layer of poignant elegance, while Corey Bracken’s synth work introduces a subtle dynamism to the arrangements.
The Falls of Sioux is as much about personal transformation as it is about sonic reinvention. Tracks fluctuate between contemplative stillness and expansive soundscapes, offering a mature take on themes of grief, resilience, and self-acceptance. It’s a record that captures the essence of moving through life's darker periods into a place of greater light and clarity.
This album not only enhances Owen’s discography but also solidifies Kinsella's legacy as a songwriter capable of turning deep personal experiences into universal truths, wrapped in a sound that resonates with a newfound sense of freedom and confidence.
Opening the record is “A Reckoning.” True to its name, the track immediately immerses the listener in a soundscape that could underscore an epic western, complete with mournful guitars and deep, distant bells. Kinsella's vocals enter at the 40-second mark, allowing the music to first serve as a brooding overture for the album as a whole. Lyrically, the track delves into themes of ageing and the increasing burden of baggage we carry as we grow older, as well as how judgments and grief impact our memories. Not only does the track feature western-influenced instrumentation, but its lyrical themes of the devil and the closing line, "If I get back to Sioux Falls, there’s gonna be a reckoning," could easily belong in a cinematic masterpiece.
"Beaucoup" is the first of two consecutive singles presented early in the album. Lyrically, the track navigates the fine line between love and lust—on one side, it's tender and loving; on the other, it's filled with a lustful craving, like a junkie in pursuit of their next fix. Sonically, the track draws heavily from Kinsella’s collaboration with his cousin Nate in their project LIES. It opens with a simple strummed guitar that is slowly dissolved by Electronic flourishes as the track progresses, on “Beaucoup” Kinsella lets his shoegaze influences envelop him in a deep wave of synth-driven bass. It’s no wonder this track was chosen as the lead single; it's one of the strongest on the album and also serves as the best introduction to the sonic soundscape of The Falls Of Sioux.
Following "Beaucoup" is what might be my favourite track on the album, "Hit and Run." I've been playing it nonstop on the radio show lately. The track is a deeply personal tear-jerker; so much so, that it even brings tears to Kinsella's own eyes. The lyrics explore themes of alcoholism and the pain it causes, suggesting it almost seems to run in the family like a curse. In many ways, it revisits themes addressed in "Uncomfortably Numb" from American Football’s LP3. I can never listen to this track without tears streaming down my cheeks—it's beautiful, it's sad, it's everything Kinsella does best.
"Cursed ID" introduces us to KC Rae’s backing vocals for the first time on the album, echoing Kinsella hauntingly. The lyrics, infused with hints of French, are emotionally charged and filled with self-deprecation, likening his live performance to that of a drunken Billy Bragg. Similar to the earlier "Beaucoup," the lyrics form one side of a conversation, or more accurately, a conversation with himself.
Kinsella strikes a contemplative tone on “Virtue Misspent,” reflecting on a lifetime of events and the missteps made along the way, all wrapped in a deep sense of nostalgia stirred by poignant memories. Musically, the track pays homage to one of Kinsella’s favourite bands, New Order, with guitar parts heavily inspired by Peter Hook’s iconic bass style. The song embraces this influence through layers of synthesised strings and direct input guitar, capturing the quintessential essence of its inspiration.
In stark departure from the album's established sound "Mount Cleverest" is a jolt of psychedelic-tinged pedal steel guitar. This sonic shift marks the album's turning point, thrusting us into the psyche of a character wrestling with emotional exhaustion and disillusionment. The lyrics paint a picture of internal conflict, where a facade of normalcy crumbles under the weight of societal pressures, strained relationships, or perhaps a deeper personal struggle. The line "I'm dead inside but the yard looks nice so nobody knows" encapsulates the overall tone of disillusionment and the desperate desire to break free from an unsustainable state of being.
The Falls Of Sioux’s central themes appear on the classic Owen-sounding “Qui Je Plaisante?”. The song, which translates to “Who Am I Kidding?”, features Kinsella wrestling with the notions of forgiveness, remembrance, and personal legacy, all conveyed through his characteristic confessional lyricism. The music, subtly layering acoustic and ambient textures, complements the introspective mood, framing the self-doubt and reflections on wasted opportunities in a stark, poignant light.
The penultimate track "Penny" is a heart-wrenching acoustic number with beautiful background instrumentation. Throughout the song, Kinsella delves into what appears to be a one-sided love affair. He pours himself into the object of his desire, offering everything from blind devotion to his entire life insurance policy. Despite his desperate attempts, he realises that he's wasting his time, feeling caught between his old life and this overwhelming affection. The song concludes with a poignant image of the beloved being so fragile they might "blow away," evoking a lingering sense of vulnerability and fear.
Closing The Falls Of Sioux in epic form is “With You Without You.” This track is a standout, encapsulating the album's themes in its complex, bittersweet portrayal of a relationship. Kinsella expresses regret and liberation, reflecting on past mistakes and embracing his true self with the phrase "middle-age of discovery." The lyrics capture a tension between isolation and connection, with lines like "famously, Fate left me for dead" and finding clarity in a stranger's embrace. Despite the relationship's challenges, phrases like "This is life with an asterisk" suggest an unconventional, imperfect bond. The poignant refrain, "I'm with you without you," highlights a physical closeness but emotional distance, underscoring a longing for a deeper connection. This track perfectly closes the album, reflecting its sophistication and depth.
Owen's latest album, The Falls Of Sioux, is a beautiful and complex exploration of personal growth and transformation. Musically, it expands on Kinsella's signature sound with richer production, featuring collaborators like Sean Carey and contributions from KC Rae. The songs navigate themes of ageing, grief, addiction, and self-acceptance, often with a raw vulnerability. Tracks like "Hit and Run" tackle difficult subjects with emotional honesty, while others like "Virtue Misspent" weave nostalgia with self-reflection. The album marks a turning point for Kinsella, both thematically and musically, solidifying his legacy as a songwriter who can turn personal experiences into relatable stories wrapped in beautiful soundscapes.
The Falls Of Sioux from Owen is out now via Polyvinyl/Big Scary Monsters depending on your territory and available on all good streaming platforms. You can catch Owen on tour at various dates this spring and summer.
