I was living in Ireland when Kings of Leon released Youth & Young Manhood in 2003, and was so sick of pub tunes and diddle-dee-aye-oh music that I heard one track off the CD and rushed to the record store to pick it up. So refreshing was it to hear energetic, Southern American rock produced in a relatively lo-fi environment that I briefly considered myself a Kings of Leon fan. The shouts and foot-stomping beat of "Red Morning Light" sounded like the after-midnight music sessions in the backwoods of the Bluegrass Festival in Kansas. In short, Kings of Leon made me feel a little less homesick. But four years later they release Because of the Times, and now I have to destroy every connection between them and myself.
According to an excerpt from a review off cduniverse.com, Kings of Leon are "recreating the majesty of 1970s southern rock for the emo generation." I agree in essence, but would reword it slightly to say they are "rehashing hackneyed riffs in a tired genre for an audience that either doesn't know any better or is so limited in their musical choice they deliberate between Aerosmith and Fall Out Boy." I think you can guess the slant this review is going to take. So instead of berating the album all at once, I will take you through track by track and relay my thoughts as I thought them. Such and approach will, I hope, illustrate both the irritations and the incongruities of Because of the Times.
Track 01 :: Knocked up
It begins soft, 2/2 time, and sounds a little like U2 circa Joshua Tree. I'm really liking it so far. I mean, wow! This is something different, a new direction. Their sounds is evolving into . . . what the fuck? What did he just sing? "We're gonna have a baby?" Yes. He did. He sang, "I don't care what nobody says, we're gonna have a baby." That could possibly be the lamest opening line of any song ever written, and I'm including the entire back catalogue of Rush.
Oh, great, the lyrics are in an incredibly challenging AABB rhyme scheme. And what's this? Oh cute--most of the lines ends in "ee".
I never noticed before, but Caleb's voice is annoying. Not annoying like waiting in line for a drink, but annoying like that guy in the office with the handlebar mustache who refused to trim his fingernails. It sounds like, after he passed out drunk, someone woke Caleb up, stood on his chest and told him to sing. The rest of the band, however, is good. Very good. They sounds tight, polished. And, while I liked the scruffiness of Youth & Young Manhood, I appreciate that they've moved past it. Speaking of moving past it, I'm very tempted to skip to the next track (I'm only 3 minutes into a 6 minute song), but I will stick it out for the sake of the review.
This song drifts on and on. There are a few echoed shouts in the background, and the whole things is beginning to sound a little too much like Coldplay for my liking.
One minute 30 seconds left: I have to skip. I just can't take any more.
Track 02 :: Charmer
Great start. A very "Pixies" intro. This one could really take . . . oh god. Screams? What's with the screaming? Oh no. He keeps doing it. Oh, I get it--that's the "thing" for the song. He screams. Good one. How long did it take for the muse to move you to that stroke of genius, huh Caleb? And just what in the name of Santa are you saying!?
"she's such a charmer
she stole my karma
so did the farmer"
Here's a tip I learned in high school: just because it rhymes, does not mean you should say it out loud--let alone shout it.
Again, the rest of the band is good. I really need to skip, though. This is just too awful.
Track 03 :: On Call
Right. Here we go. Track three.
Ah. Coldplay again. Great bass line, though. However, once more, ruined by Caleb. Way to screw it up for the rest of us, champ.
Similar to "Charmer," there is a little signature on this one. Where in the last track he just shouted until his voice turned opaque, here the catch is that he repeats "to be there" in a floaty voice, but uses the same notes. . . and same key. . . over. . . and over.
. . . SKIP!
Track 04 :: McFearless
Oh! What--what's this? Great beginning! Wow! What drums! Oh, and the fuzzy bass. Honestly, I think I wrote them off too early. The first three songs were questionable, but they've totally redeemed . . . goddamn it! Fire the goddamn singer! This is getting depressing. But for the sake of all three of my readers, I will continue to listen. This time i will stick it out. I'll do it for the drums and bass and guitar. . . who've just turned into Coldplay again.
So . . . bored . . . must . . . listen . . .
Skip. I had to. Sorry.
Track 05 :: Black Thumbnail
SKIP!!
wait . . . no, nevermind. Definitely skip.
Track 06 :: My Party
Besides the crap name, it also has a crap opening riff. Oh, he's fuzzed his voice. . . and speaking instead of screaming. Wait, now he's screaming.
I can't do this anymore. This is coming right off the iPod.
So you see, it was an endurance test merely to complete a full listen of the album--a test I happily failed. This album is nothing little more than cookie cutter rock and roll. If that's what you like, then this album is for you.
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