In the Reins

From the opening strains of In the Reins, one realizes this was a collaboration waiting to happen. Calexico’s sweeping desert landscape music is the perfect background for Sam Beam’s brand of lonely, ruminative and literary musings delivered in his wispy, gentle voice.  (Beam reportedly approached Calexico to back him on the debut Iron & Wine album, but conflicting schedules intervened.) Apologies to Calexico should they take umbrage with being labeled a “back-up band” here, but there is no other accurate label, and the marriage of the two produces some great listening. Beam’s poetic, spare, lyrics (he wrote all the songs here) are nurtured by the richness and depth of the Arizona band’s musical constructs, with a multitude of instruments — guitars, cellos, marimbas, pedal steel, keyboards, trumpets and more — acting as punctuation and emotional flourishes in the storytelling. Standouts include the astoundingly beautiful opener, “He Lays in the Reins,” with it slow layering of guitars and operatic interlude; the relaxed, steady guitar/drum backbeat of “History of Lovers,” giving off a faint Tom Petty vibe (very faint) and leading to some lively horns and piano; and “16, Maybe Less,” a wistful look back at a first love. It ends with the airy, floating “Dead Man’s Will,” delicate layers of breathless vocals atop tiptoeing marimbas. Fans of both artists will find something to love here.