Review Summary: Americana with a little bit of reimagining.
Over the past several years, music has been undergoing a return to roots at the same time as it has been going forward. Folk music is back in the limelight, with groups like
Mumford and Sons and solo artists like
Vance Joy and
Sufjan Stevens providing a renaissance of sorts to the genre.
Of course, besides the countless radio singles Mumford has brought to the table,
The Lumineers are probably the best-known group in this new folk revival, with their smash hit "Ho Hey" from their debut self-titled album.
However, recently a question has arisen within this group of artists: where do we go from here? Many of these bands it seems have two choices: stay the same or go to a different genre. Some listeners are having a little bit of folk fatigue, it seems, so artists are being forced to consider which direction they should go.
Now,
The Lumineers' first album was a little bit of fresh air even within its own genre because of its incredibly bare-bones recording techniques that contrasted its at times complex lyrical themes. Doing an album in such a simple style allowed for them to go many different directions with their follow-up, which we finally get in
Cleopatra. The question is which direction the band decided to go with this new release: new territory or a retread of what has been done before.
The answer is a little more complicated, however.
Cleopatra is definitely a musical step forward and in a new direction in some ways, but in others it remains the same as
The Lumineers' debut. If I had to say what it feels like, it's almost like the band took the music of their debut, removed most of the mandolin, banjo and gang vocals, and added in some grand sonic space a la
U2's
The Joshua Tree. The result is pretty pleasing and refreshing on a first listen, but on repeat listens at times there is this feeling that something is missing. There's less charm on
Cleopatra, and that makes the entire record feel less down-to-earth. In particular, the lack and/or diminishment of backing vocals in the mix on most tracks makes the album less endearing. If there wasn't so much sonic space, it might have lent a more intimate feel to the album; however, you can't attempt to be so spacious in your music and not have sound to fill that huge space. It just feels a bit off.
Lyrically, there's a lot more focus in
Cleopatra than its predecessor, which is both rewarding and a bit depressing at the same time. I use the word depressing because the album is much more of a downer than
The Lumineers. Especially towards the second half of the record, there's a lot more melancholy and introspective lyrical themes explored than before. I don't think this is a poor decision on the band's part, as there's a better arc through the album's track order because of it. However, it's worth knowing that there's nothing like "Submarines," "Ho Hey," or "Big Parade" here. It's a big change for sure, but after a few listens it really grew on me.
Overall, this is a little bit of a sophomore slump for
The Lumineers, but
Cleopatra shows some signs of change from a band in a genre that has gotten a little fatiguing as of late. These changes show potential for a better future release, but even so there are some growing pains that, while not glaring, definitely lower the overall quality of the album. It's still worth listening to, but just keep expectations in check.
My rating: 3.5/5
Best tracks: "Ophelia," "Cleopatra," "In the Light," "My Eyes"
