|
| |
|
|
|
Review Summary: Experimentally average. Maturing from one release to the next is what every dynamic band strives to accomplish. There are many ways a band can go about this, but most bands choose one of two options: completely changing their sound -or- building upon their existing sound with added experimentation. Both of these choices can make or break an album and risk alienating fans, especially with the first option. New York based band As Tall As Lions has decided to go with the second path, keeping their signature blend of alternative rock and indie, but adding more diverse and experimental tracks. With their growing popularity, As Tall as Lions seem to be at the brink of mainstream success, so logically doing a full 360 with their sound would not be a good idea. On the other hand, was experimenting with their already perfected sound a good idea? As Tall As Lion's third full length You Can't Take It With You falls into something I like to call experimentally average.
Now what exactly is experimentally average? Well, put simply, it is when a band tries many new ideas, but never breaks past mediocre in quality. On You Can't Take It With You, the songs fall into three distinct categories: songs that stick to the old sound, songs that try something new, and songs that are flat out boring. The songs that stick to the old sound are as you might expect-- the best songs on the album. Standout track "In Case of Rapture" follows the same pattern that As Tall As Lions has used on their previous albums, an upbeat tempo with a soft-to-loud verse/chorus structure that makes it one of the best songs on the record. The song borders between pop hit and indie classic which is exactly what is so lovable about the band. "Go Easy" could be easily mistaken as a b-side from the band's last effort, but slapped with an overdriven solo in the middle. When the band experiments with their sound on other tracks is when the listener will notice the divide between the better tracks and the average tracks.
The experimental songs are hit and miss. When the band makes a hit, its a hit. Guitarist Saen Fitzgerald takes over vocal duties for the somber and beautiful track "Sleepyhead". "Sleepyhead, get out of bed" is soothingly spoken by Fitzgerald, immediately calming you, relieving any stress you might have had before landing on this track. "Sixes & Sevens" is another incredible track. Clocking in at just under three minutes, the track brings together all of the bands' new ideas into a perfect song. Harmonizing vocals between all band members start out the track as acoustic guitar carries on their voices. Right as the song reaches a high point, the music crashes back down into that same acoustic guitar, softening your fall. Climbing right back up, Nigro's voice wails out the verses, only to come crashing down again into spastic piano keys over acoustic guitar. The title track is probably the most experimental. Horns and electronic ambiance fill the sound scape creating a fresh sound for the band. A chorus sung by the entire band only adds to the song, making it a song you will find yourself coming back to again and again. The last song worth mentioning is "We's Been Waitin'". The song carries a lounge type feel, heavily piano and bass driven with handclaps scattered throughout. Nigro's vocals are once again different from anything he has done in the past. A low, muffled voice is heard, fitting with the music perfectly. These tracks all build off the bands' signature sound, but are unlike anything they have done in the past.
Unfortunately, the rest of the album is plagued with songs that miss the mark completely. The centerpiece of the album, "Duermete" is the longest track on the album, and also the worst. At eight minutes long, the song seems to drag on as the smooth vocals backed by piano slowly churns the song along. Attempting to reach a climax, the song builds to a crescendo that is over in about fifteen seconds. The centerpiece is typically used link two parts of the album together, but "Duermete" sadly kills off the flow of the album. The final track "Lost My Mind" is another track that falls to the same problem. As Tall As Lions has closed their previous releases with a slow emotion filled song to send the listener off satisfied, but "Lost My Mind" does the opposite. Similar to the other closers, "Lost My Mind" is slow, focusing the attention on the vocals. But unlike tear-jerker "Maybe I'm Just Tired" from the band's previous effort, "Lost My Mind" is more likely to put you to sleep than make you cry.
You Can't Take It With You is not a bad record by any means. The album contains some of the band's best work such as "In Case of Rapture" and "Sixes & Sevens". The music builds upon As Tall As Lions' signature sound with mixed results. Dan Nigro takes a great leap with his vocals, using various styles to keep each song fresh. The band struggled to find the right producer for their album, switching between 3 producers during the course of the recording process. Some tracks use layers and layers of instrumentation and vocals to create a crisp and modern sound, while others are stripped down and minimalistic, blatantly showing the different styles between producers. Experimentation can make or break an album. While experimentation did not completely break the album, You Can't Take It With You falls into experimentally average.
| other reviews of this album |
|
Album Rating: 3.0
Well, I was pretty disappointed by this. I listened to it many many times, but it still doesn't hold a candle to the self-titled.
| | |
aw
| | |
Well that's disheartening. I've yet to give it a spin, but I refuse to let this bring me down! I'll probably love the album.
| | | Album Rating: 4.0
Dan didn't sing in "Sleepyhead", Saen did.
I feel "Duermete" is going to be labeled off as "boring" due to it's placement in the tracklist and it's length...I still love the song.
That is all. Thanks for reviewing it.
| | | Album Rating: 4.0
review is wrong. album is excellent, best they've done yet.
| | |
need this
| | | Album Rating: 4.0
and i agree with jprime, duermete is an excellent song. extremely relaxing, atmospheric, just lovely. a staff review should be up within the next few days.
| | | Album Rating: 4.0
this review is really good though i think i will rate it higher than a 3.
| | | Album Rating: 3.5
Review is disheartening, but I'm still gonna get this ASAP. Good review though
| | | Album Rating: 3.0
Dan didn't sing in "Sleepyhead", Saen did.
I feel "Duermete" is going to be labeled off as "boring" due to it's placement in the tracklist and it's length...I still love the song.
That is all. Thanks for reviewing it.
Ahhh thank you, I thought I had all my research done, thanks for that.
Yeah, I agree, maybe if it was towards the end of the album it would not have been such a buzzkill. I just feel the need to skip it every time it comes up because it completely kills off the flow of the album, and is generally not a very good song (in my opinion).
Like I said...its not a bad record, but it doesn't even compare to the self titled and Lafcadio.
| | | Album Rating: 4.0
much more interesting than self-titled imo
| | | Album Rating: 3.0
Yeah, its debatable, I'm looking forward to the staff review, are you going to be doing it?
| | | Album Rating: 4.0
alex is i believe.
| | |
i'll check this out soon
| | | Album Rating: 4.5
Way off....really good album.
Duermete is a gorgeous song.
| | | Album Rating: 3.0
The thing that bothers me with Duermete, besides the track placement, is that I've heard better. I know what the song was going for, the slow emotional break in the album, but the quality of the song isn't up to par of similar songs that do the same thing.
For example, listen to Acrobat off Lafcadio, the same idea was used, a slow centerpiece. The difference here is, Acrobat was a quality song, Duermete just falls short.
| | | Album Rating: 4.0
The only thing Duermete and Acrobat have in common is it's placement.
Acrobat suits LAFCADIO...if it was in this album it would feel so out of place.
Duermete suits and compliments this album ... the theme, the delivery...the "and I know better daaaaaays will come!"
It just fits. And who knew Julio had the pipes? The dude can sing...
It's things like this that impress me about this album. You're reminded that they can do so much more then what they have previously done.
I guess I just have it in for this band with how they grow and what they have achieved here. I'll always love and continue spinning the self-titled and LAFCADIO...but I'll always appreciate a talented and creative band challenging themselves with results like this album.
| | |
Experimentally average? Acrobat? You guys are hilarious. Acrobat was a song written by the band while they were still finding
themselves. Now, they're just making music because they ARE As Tall As Lions. If you can't recognize this, then you're on the
slow side.
Every album is going to have its highs and lows. And, there are obviously different scales on which these highs and lows will
occur. For instance, John Lennon's highs and lows on "Imagine" can't be compared to those highs and lows on "You can't take it
with you." Now that being said, ATAL has just released a very impressive record, their best to date, in which they made giant
leaps from their previous releases just by being themselves, writing music they felt, and growing naturally. Is every moment
going to connect? No! But that's unrealistic in the first place and trying to place the blame on experimentation is just silly.
For all you children out there shouting out things like...."The songs that stick to the old sound are as you might expect-- the
best songs on the album," should maybe think about what they're saying and take a hard look in the mirror. If that's how you
feel about ATAL and music in general, why even listen to a new album. Might as well just grab your copy of Lafcadio or Pablo
Honey, play it on repeat and convince yourself that this is what ATAL and Radiohead are...nothing more. And, this is all I want
them to be cause I'm too afraid to challenge myself or am fearful of what might happen if my brain or tiny palate were to
expand.
I call these people "desert island listeners." I'm sure you understand what I mean when using that phrase. Yes, I admit, I'll
occasionally find myself listening to "Tusk" or "Pussycats" for example on repeat for a week or two, but I'll stop listening to
music all together before I start barking at artists for taking a step in a new direction. Especially, when it's obvious that the
step was natural.
So, any ATAL fan or critic reading this who thinks they might fit into the category of people I've just described...when you get a
chance...take a few steps backward, that being the direction in which you like to travel, and mail me a cassette of Greenday's
"Dookie" cause I'm sure it's still in your tape deck and I am betting you even have a spare copy somewhere in your car.
much love to ATAL and congrats on their new success...xoxo
| | | Album Rating: 3.0
I appreciate your post, great thoughts.
First off, like I said in the review, this is not a bad album, but it isn't an excellent album either. I think I explained my rating pretty clearly in the review, so I won't rehash what I already said, but I will emphasize why I feel the way I do about the album to what you are saying.
"If that's how you feel about ATAL and music in general, why even listen to a new album. Might as well just grab your copy of Lafcadio or Pablo Honey, play it on repeat and convince yourself that this what ATAL and Radiohead are...nothing more. And, this is all I want them to be cause I'm too afraid to challenge myself or am fearful of what might happen if my brain or tiny palate were to expand."
I was very excited for this release, as you can see from my review of the self-titled, I was in absolute musical bliss from what I heard. I was expecting this new record to be a maturing of sorts, I was not looking for another self-titled, but when I spun the new album multiple times I was let down each time. Like I said in the intro, every band wants to mature and progress their sound, sometimes it works, sometimes it doesn't. If you want to make Radiohead comparisons, look at OK Computer to Kid A, a complete 360 that worked because the songs were good. Even from The Bends to OK Computer, you can see a jump in quality. The difference here is, You Can't Take It With You tries to experiment, but falls short, at least to me, I seem to be in the minority on this.
| | |
| |
