Fleet Foxes
Uncut UK|July 2017

“Was I too slow? Did I change overnight?” Robin Pecknold returns to the hunt.

John Mulvey
Fleet Foxes

On the evening of February 9, Robin Pecknold ambled into one of those strange controversies that blow up on social media and, for a few hours, consume the music world’s chattering class. Talking to the Dirty Projectors’ Dave Longstreth on Instagram, Pecknold became embroiled in a droll, quasi-academic discussion about the precarious state of (his quotes) “indie rock”. “I feel,” he wrote, “like 2009, Bitte Orca/Merriweather/Veckatimest, was the last time there was a fertile strain of ‘indie rock’ that also felt progressive w/o devolving into Yes-ish largesse.”

Opprobrium, inevitably, was swift. Pecknold’s comments were taken as a lament for a time when records by Dirty Projectors, Animal Collective, Grizzly Bear – and, by extension, Fleet Foxes – had greater cultural traction. In the mainstream nowadays, it tends to be R&B, hip-hop and pop that are fêted for an experimental as well as a commercial imperative. Pecknold’s argument was more nuanced than soundbites allowed, but it was disseminated as if he were yearning after some halcyon era, when groups of largely diffident American boys – often bearing guitars, often his friends – became stars, after a fashion.

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