'JOSHUA TREE DENIAL'
critical roundtable gears up
We know the drill by now. The template was put down by The Strokes and until we enter a new paradigm shall forever be so.
A young band of dubious provenance arrives on 'the scene'. Talk of their sound; simultaneously retrograde and yet the sound of the absolute now. 'Classic'. We are assured of their 'realness' despite the abstract/absurd nature of this concept.
The debut record (possibly after some impossibly hip limited EP or 7" is 'dropped') is released to vast critical aplomb - heck, even Robert Christgau likes it! It makes the top 100 albums ever despite having only been released four months prior in a traditionally lean spot in the year. A successful tour of the world's dumps and festivals and relax.
The second album dichotomy; more of the same or something different. History shows to err on the side of caution for sales and go for broke to be remembered fondly. It sells well and gets good reviews (critics don't like to think they were fooled, ever) but ultimately there's nothing to trumpet, especially when we have new feed coming in at the beginning of this cycle. Perhaps start to think about solo projects or a clothing line.
The third album tanks but you're still a live draw. Now you have the unenviable task of touring knowing you're pretty much creatively spent as a unit, playing these same chords every night despite the 'stripped-down' and 'mature' record you have inside. Even the groupies look kind of spent and redundant. Often, there is no fourth record, and if there is then it sells so poorly as to be the almost physical manifestation of one hand clapping.
This template works for so many bands; Black Rebel Motorcycle Club, The Music, The Stills, Interpol and Franz Ferdinand to name a few. Enduring the process over the next year or so will be CSS, Glasvegas and Klaxons. So why have Kings of Leon, forged through the same processes, endured to see a zenith of popularity in the run up to album #4?
Art In Macro have a suspicion that Kings of Leon endured because people simply forgot to listen to them first time around, so their third album was essentially their first to many.
This writer was at a karaoke party and the above song ('The Bucket') came on at random for me to sing: it was pleasant enough without developing (at all) and easy enough to perform despite never having heard a note before. Like good pop songs, it had an enduring and non-annoying quality to it. I mentioned this to a couple of 'music fan' friends. "Oh, they're pretty good, they've changed a lot. It's not just 'Molly's Chambers' going ba-ba-na-na-na-na-na all the time. You should have a listen."
And listen Art In Macro did. And the experience was neither pleasant enough to purchase anything, not terrible enough to incite rage. Kings of Leon had done it! They had run the gauntlet and were now primed to make 'a statement'.
MEET THE ROUNDTABLE
- ML is a singer in a rock and roll band and by day, he writes copy for his employers in the construction sector. He is 27.
- KD is a journalist on the local newspaper in her mid-20s.
- DG is a student and musician. He is 20.
ML: I found their stripped down hick rock they had on their earlier stuff really fucking patronising. That opening track, I think it was ‘Knocked Up’ - if you forgive the hamfisted lyrics, really shocked me. It’s like they’d found another couple of emotions. Or had stopped wearing sandals if you get my drift.
DG: The epic atmospheres that made Because Of The Times great have gone too far. The songs sound wet.
KD: I got a bit bored after about four songs to be honest, but then I do have musical ADHD.
ML: Where the delayed guitars on the last one sounded like a band branching out, they sound really fucking cynical on this. Take the single as a shining example. It’s like they wandered into a big room on their last album, metaphorically and literally, and have stayed there - wide eyed and complacent. Like The Joshua Tree never fucking happened. Joshua Tree denial.
DG: Caleb's voice tends to slide into power ballad mode from time to time, and each time he does this - while it fits with the song - it just contributes to the vast empty spaces, instead of filling them up. It's a shame sometimes because you can't help but feel his indie cred slowly draining out of him and ergo his band, into the realms of, well dare I mention other once rock and roll pioneers turned purveyors of radio friendly stadium capacity rock?
Art In Macro first heard the record whilst out purchasing DVDs in the local HMV, playing as it was at full volume over the speakers and delaying the thought process of purchasing, creating an internal digression of whether to stay or flee. On the bus home, I sent a message to a friend.
Just heard the new Kings of Leon record. It was like some bizarre medieval torture crossed with a terrible U2 record.
For the record, Metacritic have them as nearly a 7 out of 10. Other noteable reviews from Allmusic who give it 7, Observer Music Monthly give it full marks and finally Pitchfork, who give it a mid-three.
Please make up your own minds though. Perhaps let us know what you think.
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