I (Heart) Caleb, She (Hearts), Um, None of Them

Hope you like the flashy new SD design. Here are a couple of takes on the upcoming Kings of Leon album, Aha Shake Heartbreak.

First, MZ...

The hottest musical controversy in the DM/MZ household the past few years has been my complete befuddlement at his seemingly abiding love for the Kings of Leon. With their latest album due for release in the next month, it seemed the perfect time to revisit this issue with a look at their sophomore release, Aha Shake Heartbreak.

Let's jump right in. At almost four minutes the opener, "Slow Night, So Long" is longer than any Kings of Leon song probably ought to be, particularly since the last mnute or so is a strange bossanova that really doesn't mesh well with Caleb Followill's marble-mouthed drawl. Additionally, this song boasts the appealing couplet, "You're not so nice, but the sex is so cheap." Can't say I'm won over so far, DM.

They probably should have opted to open with "King of the Rodeo" instead- at least I wouldn't have been bored straight away. This is in no way a particularly original song, but it is posessed of an appealing nervous energy that Strokes fans should recognize, and I must admit I enjoy Caleb's (yes, we're on a first name basis- if only because everyone in the band has the same last name) sort of speed-talking delivery here. Also, I'm a sucker for handclaps.

Sadly, very little that follows lives up to that standard. I definitely enjoy the shorter, faster songs far more, and not exclusively because they're over more quickly. "Pistol of Fire", "The Bucket" and "Velvet Snow" are punchy fun. Unfortunately, every time the band slows down the tempo or lets a song go on longer than three minutes (of the four I like only one is even over 2:30) I feel sedated or impatient.

Basically, I had the exact same experience I did with their debut- there are a couple of songs I like, many that do nothing for me, and if I'm forced to listen to much of it at a time, Caleb's voice gets pretty tiresome. It's definitely distinctive, and I certainly don't shy away from unconventional (or frequently just plain bad) singers, but his voice is either very limited or he's just not choosing to do anything with it. There are basically two settings, quiet or loud, and the fact that his delivery renders the words completely indecipherable (possibly for the best) just makes his performances all the more indistinguishable. Wow, that was a lot of adjectives.

So what's the verdict? Well, if I seem to like a band best when it just gets things over with as quickly as
possible, that's hardly a hearty endorsement. It's also probably not a good sign that I like them best when they are most obviously ripping off the Strokes, who I am not even all that big a fan of either. I will say this for them, though: they do look better without the beards.

And now, DM. Sorry, but I ramble.

Well, if you are a regular reader of SD it shouldn’t come as much of a surprise that MZ isn’t a Kings of Leon fan. After all, they have three major strikes against them right off the bat: 1) They are American, 2) They are currently making music, 3) They are on a major label. We all know that for MZ to really be into your band, you had to be making music on the other side of the Atlantic Ocean while Reagan was president.

So why do I like them? Because they are awesome, that’s why. Also because they play a very specific brand of music that I particularly like, that being concise, precise, riff-y rock with excellent guitar interplay. And it sure doesn’t hurt that Caleb has the most gloriously ridiculous voice in the world. It’s a turnoff to some, but I can’t get enough of it. If you have nothing to say (which is clearly the case from the few lyrics you can make out), you may as well say it ridiculously.

Let’s take the lead track that MZ doesn’t like so much, and not worry about that bossanova thing at the end, which I concede is rather silly. “Slow Night, So Long” has a bouncy bass line that serves as the melodic foundation for the song. This is a tactic that I thoroughly enjoy, and it’s used generously throughout the record. Meanwhile, one guitar plays crisp power chords and the other plays a catchy but non-intrusive lead. Compared to their debut, both guitars are brighter, which means it’s easier to pick them both out, and it gives the songs a less sludgy feel. I never thought I’d say this, but well done, Ethan Johns! He’s succeeded in giving them a lighter sound that works well on an album that’s not nearly as one-dimensional as the first one, which was basically garage rock rave-ups.

My current fave is “King of the Rodeo,” the one tune that MZ seemed to actually like. It does that that nervous energy that should appear that Strokes fans should recognize. I recognize it, and I like it. Again you’ve got both guitars and the bass playing completely different but very complementary parts. And Caleb’s flow during the chorus is pretty damn great. And at not even two and a half minutes the song is short enough that it gets you repeating it. Rest assured, this one will be on the next Obsessive Listening List.

The area where I think Aha Shake Heartbreak improves on their debut is that it shows actual growth in both songwriting and performance. Like The Strokes, they aren’t the most gifted band, but the songs are played with precision. They never try to do too much, and that’s to be commended. There’s a bit more open space in these songs, and the songs change direction more often than on Youth and Young Manhood. Take “The Bucket,” which is one of the album’s certain highlights. It’s got a chugging, slow-build verse then a drop-out chorus (which utilizes the “never fail” JAMC drum beat) which teases going back into the verse before doing another bit of the chorus. The second verse builds even more, you keep waiting for it to turn into the predictable all-out rocker, but the band shows excellent restraint. Instead of going that route they add a tambourine-fueled bridge, one last chorus and the song just stops, right at the three-minute mark. There’s nothing very fancy about it, but unlike their past songs, where you knew exactly where they were headed, this one works in that it keeps you off balance throughout but still manages to be punchy and catchy.

“Soft” has an almost island-rock vibe with bongos and almost calypso-style guitar. Unlike “The Bucket,” this one does eventually turn into the rave-up you expect it to, complete with Caleb screaming like a lovably retarded lunatic. This is another song that gets to the three-minute mark and just stops. I love this. The Strokes do it a lot, The Oranges Band does it a lot, it’s a great technique. You’ve said what you want to say, no need to keep things going, outros suck, just stop sharp.

I’ll admit that the last third of the album kind of loses steam. “Four Kicks” is the sort of predictable dirty garage rock tune that 50 bands in your hometown can do just as well. “Rememo” sounds like one of The Walkmen’s slower tunes without the organ and doesn’t really go anywhere. I could see how some may not like the largely acoustic “Day Old Blues,” but I can buy their attempt at a “lonesome yodel” as Allmusic calls it.

Aha Shake Heartbreak is a lot like Room on Fire in that people who don’t like the band will have no problem saying, “It sounds just like the last one,” but it is certainly not a carbon copy. It still sounds like the KOL (as long as Caleb’s “singing” that will always be the case), but the band is exploring different dynamics this time around. It’s not groundbreaking, by any means, but for folks like me who enjoy a jittery, three-minute rock song sung by a howling, marble-mouthed fool, it don’t get much better than this.

Comments

[mz]

Well, that was descriptive. Seriously though, if anyone out there actually agrees with him, I'd like to know... so I can start making fun of you too.

[BW]

First off, if anybody is reading this and hasn't heard the album yet, go download the whole friggin thing right here:
http://kaktus.bmstu.ru/piter/Kings%20of%20Leon%20-%20Aha%20Shake%20Heartbreak/
For the record, I have no problem with illegally downloading. So don't give me any shit.

Second.
I've never even heard the first album.
I just heard them for the first time a couple of days ago.
and i'm just not digging it.
Analyze it all you want, they're just not that strong of a band in general. I haven't actually been able to sit down and get through more than 3 or 4 songs at a time. But i can listen to King of the Rodeo on repeat.

Suffice it to say that I think I'm gonna have to side with Meg on this one.
sorry dave.

[DM]

Look, I realize they aren't that great of a band. You can probably tell that I just really like the way they construct their songs. And I'm the lone person in the world to be amused by and enjoy his voice. They certainly don't make any grand, artistic statements. But anyway...

On a related note, look for the following upcoming feature on SD -- MZ and DM pick the 10 worst albums from each other's record collections. Suffice it to say, Pisces Iscariot (me) ((duh)) and at least one of the Komeda albums (her) will be featured.

[ZR]

DM has just publicly lost many of his "making fun of me because I like Hawkwind" credentials. MZ, so far, retains hers.

[PS]

hey soi disantra,

should i get totally wa$+ed on p0+ before i see oneida tomorrow night?

[DM]

Whereas MZ might go the "You better if you're going to see Oneida" route, I won't. And I'll say -- sure, as long as you don't have to drive or take the subway to get there. In my younger and more vulnerable years, I had no problem getting baked and then heading out to a show. But now things have changed. People frighten me, especially when in close quarters. In fact, now I'm leaning towards no, as shocking as that may be. Just have a beer or five, and that should work.