When you hear The Shins breakout tune “New Slang” back to back with this track, it’s almost a joke that “New Slang” hasn’t been completely eclipsed by now, considering the increasingly insane songwriting skills James Mercer has flaunted in each album since then. Wincing the Night Away, partially recorded in Elliott Smith’s Portland home, has an inexplicable Smiths-like feel to it. The album Port of Morrow, named for a thought-provoking road sign in Oregon, brings up all kinds of new ideas. The melody and lyrics to “It’s Only Life” can bring a knot to your throat, and the chorus of “40 Mark Strasse” opens up like an ocean of sweet pancake syrup. But by far the most interesting direction the Shins have taken yet is the album’s title track, which sticks out like a purple tree growing in the Redwood Forest. Weird, watery opening. Strange, alien instrumental shrieks and moans. Heroin-esque Velvet Underground bass. Not an acoustic guitar in sight.

Mercer starts the verse sounding kind of like a female blues singer from the ‘20s. Then as he moves into the pre-chorus, he sounds damn near like John Lennon. Still no traditional New Mexico Shins-y-ness, just a haunting aura of superstition that might frighten children and the elderly. The subtle low-end doubling on parts of the vocals do a lot to seriously build up the track’s freakiness. Lyrics like “I saw a photograph, Cologne in ’27 / And then a postcard after the bombs in ’45 / Must have been a world of evil clowns that let it happen / And then I recognized … you were there and so was I” add an air of ominous terror, like this particular song foreshadows the end of the world. Is it a coincidence that Mercer wrote it while pondering death, inevitability, and doorways into the netherworld? “Life is death is life” … I think not.

Now imagine this song live, when its languid, staring menace is replaced by louder, even more menacing guitar sounds and a chorus that jumps out at you like a huge, black cat. If most Shins songs make you feel better, this one is here to make you terrified.

I thought the Palladium floor was going to break through during the brief minutes between the end of the Shins’ set and the encore. The crowd was screaming, stomping and chanting like wild animals, and I can only imagine the band was backstage feeling kind of frightened.

The Shins, a band I think everyone should see live before they die, Had just walked offstage after a fun, tight set at the Hollywood Palladium Sunday night, and the crowd immediately went from a mellow, jovial pack of smiling faces to a shrieking, frothing pile of freaks. I guess they didn’t want their serenity to end.

Going on after openers Delta Spirit (who is definitely worthy of their own review, just not over this lunch break), The Shins took the stage amid another uproar, accompanied by a couple of new band members. They started with “Australia” and a few other songs from their latest, Wincing the Night Away. Not to spend too much time on words (there’s a video here, too), they swept through a smooth, clean set of third, second and first-album favorites including the now-becoming-obligatory “New Slang,” “Phantom Limb” and the trippy-in-a-good-way “Sea Legs.” Aside from the album songs, the band also let everyone in on some of their newest material, including “Double Bubble” and the punchy “The Rifle’s Spiral,” which featured some sweet guitar hammering.
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