The Crane Wives are not new to the world of music. The Michigan-based indie-folk-rock band released their first album, “Safe Ship, Harbored,” in 2011, followed by “The Fool in Her Wedding Gown” (2012), “Coyote Stories” (2015) and “Foxlore” (2016). The group has amassed an adoring crowd of listeners drawn to their incredible talent, boasting three-part harmonies, beautiful lyricism and fantastic storytelling. It is quite clear that guitarists and vocalists Emilee Petersmark and Kate Pillsbury, drummer and vocalist Dan Rickabus and bassist Ben Zito shine together as The Crane Wives. This past June, they dropped “Arcturus Beaming” as a single, teasing the release of their new album on Sept. 6, “Beyond Beyond Beyond.” With its recent release, The Crane Wives wonderfully reminded the world just how powerful they are as musicians, artists and storytellers.
I still get chills whenever I listen to the first track “Scars,” with its haunting vocalizations and deep, heavy bassline. The song—like the album as a whole—takes the listener on a journey of introspection and questioning as the narrator seems to come to terms with a “fatal fault” that pushes them to self-destructive tendencies. The band brings in cellist Jordan Hamilton and violinist Sam Cooper, so as the energy of the track builds, the strings pack a powerful punch. “Bitter Medicine” explores similar themes as the electrifying drums, bass and guitar intertwine with Petersmark, Pillsbury and Rickabus’ harmonies. The lyrics about the narrator adopting a facade are shockingly relatable, and the imagery in the song’s music video only reinforces this; Petersmark drags herself out of bed to take the titular bitter medicine, when sinister arms of black paint-filled balloons attack and leave the band needing to fight back as they perform. The track ends with a gritty guitar line, only for the tension to be released by the sweet notes of the next song, “Higher Ground,” which has lyrics exploring the aftermath of prioritizing oneself despite not wanting to cause harm to others.
The fourth track “Predator” lures you in with Zito’s addicting, spell-like bass line and ensnares you with enchanting vocals and lyrics about becoming aware of toxicity and breaking free from others taking advantage of you. It is immediately followed by the heartbreaking acoustic guitar of “Say It.” The narrator begs the listener, “If it’s over, say it,” and wonders, “If we were to meet as strangers again/ Would you refuse to meet my eyes?” There is a powerful driving beat behind the song, only to break after the bridge and leave the listener in moments of reflection.
In their previous songs such as “The Hand That Feeds,” The Crane Wives have not shied away from exploring anti-capitalist themes in conjunction with canine imagery, which is evident in track six “Mad Dog.” If you have ever felt like all the hard work you do is futile and amounts to nothing, this is the track for you.
Arcturus becomes a beacon of hope for the band in “Arcturus Beaming.” The guitar is almost other-worldly in this song, with lyrics like “Craning my neck, I’m looking up/ I’m grieving all that I gave up” showing a narrator grappling with past pain and trying to move forward despite it. The Crane Wives tell a beautiful tale with this track and the recently released music video only adds to it. The chilling strings of Hamilton and Cooper once again return in “Time Will Change You.” The song begins with metal screeching, the crackling of flames and a simple drum beat before introducing a gritty guitar and hauntingly sweet vocals that urge the listener to reflect on their relationship with time.
The next song, “Black Hole Fantasy,” paints the picture of a narrator who is weighed down by life and the anxiety of the growing black hole in their living room floor, wondering, “If love is just a chemical reaction/ Is there a pill to take? Something to quell this ache?” The story of this song tugs on my heart strings the most, as the lyrics explore a narrative arc in between the choruses, with the narrator contemplating what would happen if they knocked on someone’s door, but leaving their car running because they know they are not going to do it. It has a stunning, satisfying ending that will warm your heart with a bewitching two-minute instrumental ending. The penultimate track “Red Clay” highlights Rickabus’ vocals in a warm folk track. It reassures the listener that life will be scary, but to “Take a deep breath and turn to be brave/ Harvest the fruits of being afraid.”
With the soft end of “Red Clay,” the final song “River Rushing” kicks into gear with a ticking-like snare and an almost mysterious guitar strum soon after. This track is an intriguing way to end the album—its lyrics referencing a crushing pressure that aches to be released with the freeing of a rushing river. The song is high energy and tense. However, relief being the theme of the last song pairs well with the rest of the album, which continuously focuses on confronting inner and outer monsters. Fittingly, “River Rushing” ends abruptly with the dropping of drum sticks, signifying this breaking of tension.
As a writer, the storytelling of “Beyond Beyond Beyond” fills my heart and reminds me I am not alone. The Crane Wives have been releasing music for a long time—all drenched in their talent as well as their relatable and gut-wrenching lyrics and imagery—but this album proves they have learned a lot over the years, and that they are back better than ever. If you are a creative, give this album a listen and take a journey with this lovely band to discover what exists beyond, but also what exists within.