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Surprise surprise from Shearwater, who seem to have unleashed a full-blown 1980’s synth-rock album right here. Jet Plane and Oxbow is a collection of big, widescreen songs, designed with the help of Brian Reitzell and Jesca Hoop among others. CD, double LP, or a special, independent-stores-only blue vinyl ‘Loser’ edition. On Sub Pop.


  • Double LP £19.99
  • Not in stock / Usually ships in 2-3 days ?
  • Shipping cost: £4.25 ?
  • NormanPoints: 200 ?
  • SP1112 / 2LP on Sub Pop
  • Includes download code

This item needs to be ordered in from a supplier.
Usually ships in 2-3 days but delays are possible.

  • CD £11.49
  • Not in stock / Usually ships in 2-3 days ?
  • Shipping cost: £1.00 ?
  • NormanPoints: 115 ?
  • SPCD1112 / CD on Sub Pop

This item needs to be ordered in from a supplier.
Usually ships in 2-3 days but delays are possible.

  • Double LP £19.99
  • Sold out.
  • Shipping cost: n/a
  • NormanPoints: n/a
  • SP1112X
  • SP1112X / Indies only BLUE coloured vinyl 'Loser Edition' 2LP on Sub Pop
  • Includes download code

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REVIEWS

Jet Plane and Oxbow by Shearwater
1 review. Add your own review.
11 people love this record. Be the 12th!
5/10 Clinton Staff review, 19 January 2016
I’m not sure what has happened to Shearwater on this album. Why is it so big? Opener ‘Prime’ is a stall setting widescreen epic that sounds like a cross between War on Drugs in vogue Springsteen-isms and Midnight Oil’s rather less in vogue big music. The saving grace being Jonathan Meiburg’s chewy croon.   ‘Quiet Americans’ has something of the mid 80’s Bowie about it with a fleeting descending chorus that sounds like a cross between those two great 80’s ‘men bands’ Men At Work and Men Without Hats. Luckily that descending bit continues to the end of the track so it’s well been worth sitting through the over production to get to it. They are very fond of those tinkling Springsteen keyboards but that’s a minor gripe compared to the horrid stadium bluster of ‘A Long Time Away’.   This is truly an 80’s album. The type of record that previous pop things made to prove that they were serious, the type of claustrophobic big rock that Brian Eno might have got involved in. Clever but far too blindingly aiming at big stadium rock. In fact the only thing stopping ‘Pale Kings’ from being on U2’s ’The Joshua Tree’ is…er….nothing. 



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