Kings of Leon – Only by the Night, a review by Ian Easton
29.09.2008
Studio trickery is always a no-go area for any true-to-roots rock band. Kings of Leon didn’t quite hit the nail on the head with their last album, Because of the Times, but luckily for them by this time the masses had already hopped aboard the Hillbilly Rock bandwagon. Yet, the new five-syllabled album Only by the Night may be quite the grower, even to the most hardcore of fans, they just don’t know it yet. Granted, it doesn’t have the abundance of monolithic tracks smothered with growling vocals about Southern Americana, and their drummer doesn’t look like a bespectacled Jesus anymore, but it’s certainly got something – the trademark KOL swagger.
What this record does have in stacks is a reservoir of landscape rock, embellished with layered and wailing primal guitar riffs. Caleb Followill’s vocals are clearer, more directed than in previous efforts. This might be due to the fact that he wrote most of the words whilst under the influence of incapacitating pain killers, or it may simply be because he is now more confident in his delivery. Maybe it’s a nice medley of the two. One thing is for sure, he may just be one of the most vital frontmen of a generation.
I first heard Crawl at Glastonbury 2008, whilst trudging through a mammoth crowd trying to find my mates. ‘Here’s a new one’ Caleb said before Brother Jared flew into the first few hugely fuzzed baseline notes. I didn’t like it. I have no idea why but it has grown on me since that mud-caked lost evening. It must prove to be somewhat taxing playing new tracks to big crowds, and a lot of bands fall by the wayside attempting to win over a wider range of fans. The first single Sex on Fire might well be a carbon copy of California Waiting from Youth and Young Manhood, but it is satisfying in a more rounded way. Somehow they have kept their trademark sound whilst not quite selling out and chasing the Yankee Dollar. Applause.
The album starts off with a bang, with the two stand-out numbers named above, followed by the epic sure-to-be-a-flagwaver Use Somebody. The vocals are layered, and the lyrics paint a selfish picture of wanting and absence. The chorus has minimal vocals, which work well with just the backing vocals wailing into the night. A great one to drive at night to as well, I would imagine.
A lot of the tracks have hints of the masterpiece that is Fans from the last record, which appears to have been a benchmark for the sound of the bulk of this album. Jared’s near-perfect baselines are key to the epic image of these songs (Manhattan, Revelry, the beautiful Notion, Cold Desert). If only KOL’s fans didn’t all listen to the songs on poor iPOD headphones, they would be able to appreciate this more.
Vintage equipment has been used again throughout the whole recording process, which is pleasing to hear, as it has been their way of doing things since the outset. The KOL group are very close nit, their cousin and guitar tech Nacho could be mistaken for a fully-fledged member of the group itself. For a deeper insight into the recording process and build up to the records release, see their Only By The Night Home Movies page on YouTube. Very funny indeed. It’s hard to imagine that Caleb recorded a lot of his vocal tracks whilst drunk.
KOL may have had time to sit back, reflect on shared STDs, arguments over women and the many, many problems that newfound stardom brings, but that hasn’t stopped them living a cultured Rock n Roll lifestyle within their family group. They are still TrailerPark Trash at heart. That must be libellous.
Only by the night is a much more melodic, mature, cleaner-in-it’s-delivery, epic sounding record than any Kings of Leon have written before. It’s certainly grown on me, and it may take time to win over their hardcore fans with these songs, but if it appeals to the masses, they might no longer care? Album sales speak for themselves at this stage in their career. Stadium Tour, anyone?
Ian Easton
Friday, 3 October 2008
Saturday, 28 June 2008
The Glastonbury Diaries - Saturday 28th June
Humans, humans, humans! I just carved my way through what must be a 70,000 strong crowd to the back of the Main Stage field in order to write refuge from the sun in the shadow of the tree here. I look before me and see a sea of people. Human bodies crammed into this field in the name of music, the heartbeat of our lives. Flags fly and sunglasses reflect both the sunlight and the scenes that lay before them. As i sit in this amphitheatre for the worldly i wonder about the thousands of people joining me. All of them having their own journey, sharing their own jokes and fashioning their own views on the event as the weekend progresses. It is a long haul that requires patience, calmness and most of all, a sense of humour. We all have to work on it, but if we collectively put the effort in, the rewards are obvious. Now for the Raconteurs.
The Glastonbury Diaries - Saturday 28th June
Dont save me from tomorrow; tears poured out of all holes from Peter Doherty last night. I'm not sure if any wild-eyed festival-goers will be treated to a more sincere and heartfelt show all weekend. It certainly was iconic for me. The surprisingly tall and elegant Doherty was in fine form. Who ever said crime doesn't pay? It certainly did for us lucky enough to witness such a flawless spectacle. A dish of greatest hits was served up fresh as can be, by the prancing, dreaming Doherty. The natural arena-rise of the Park Stage field offered a perfect view for all who were watching, singing, and videoing the show (espeically for YouTube, of course). As a big fan of Peter Doherty, i basked in the glory of seeing one of modern music's most romantic, poignant, epic and natural songwriters up close and personal in such an intimate scenario. I can't help but feel that Peter is now taking his solo performances very seriously. Perhaps a solo album is on the cards, and based on this gift from him, it will be a big hit.
Thursday, 26 June 2008
The Glastonbury Diaries - Thursday - 26th June
A lazy day, all in all. However, with so much going on in our surroundings it is hard not to get sucked into the mystic madness of this celebration.
A bright idea is pitched: We should walk to the new field opened for the '08 festival, next to the Stone Circle field. Eavis has claimed that this vantage point offers special views over the site. I am hasten to add that the word 'special' might be an embarrassing understatement. This is mainly because only one kind of view would be worth the extreme exersion needed to reach this point. It wasn't easy in skinny jeans under a burning sun, but the view made up for it. It is quite simply a jaw-dropping sight. Flags and Tee-Pees embellish the field below. This panoramic view of the entire festival is a gift from the gods. No camera or painting could replicate this, you simple have to see it to believe it. I feel so touched to be here witnessing all this. Sun, friends and views. Bliss. We are disciples on this hill, worshipping the homeland.
A bright idea is pitched: We should walk to the new field opened for the '08 festival, next to the Stone Circle field. Eavis has claimed that this vantage point offers special views over the site. I am hasten to add that the word 'special' might be an embarrassing understatement. This is mainly because only one kind of view would be worth the extreme exersion needed to reach this point. It wasn't easy in skinny jeans under a burning sun, but the view made up for it. It is quite simply a jaw-dropping sight. Flags and Tee-Pees embellish the field below. This panoramic view of the entire festival is a gift from the gods. No camera or painting could replicate this, you simple have to see it to believe it. I feel so touched to be here witnessing all this. Sun, friends and views. Bliss. We are disciples on this hill, worshipping the homeland.
Wednesday, 25 June 2008
The Glastonbury Diaries - Wednesday Day - 25th June
Upon arrival we are blown away by the sheer selflessness of a group of chaps who are willing to aid our hardship of carrying rucksacks and other general paraphernalia by accepting donations to carry it all to our tents (which were already erected, i might add) on a train-like contraption. We felt like A-List celebrities during this process as everyone watched us being chauffer driven. Pure collective elation erupts every 10-15 minutes with the 'Mexican Roar', which windmills its way around each camp site. Glad to be here at sundown.
Tuesday, 24 June 2008
The Glastonbury Diaries - The Night Before, 24th June, 2008
I have visions of thousands of Halo-Illuminated heads all channelling, focusing and hording in one direction. People, friends and families from all walks of life, all corners of the earth brought together in Albion-like harmony for one single purpose; Walking, dancing, experiencing. One universal journey. Can we beat the rain?
And so it begins.
And so it begins.
Wednesday, 3 October 2007
BRMC - a collective review of Howl and Baby 81
Black Rebel Motorcycle Club is one of the very few real bands recording and on the circuit at the moment. My review of the following collection of songs is from their albums ‘Howl’ – 2005 and ‘Baby 81’ – 2007. They are some of the best compositions and statements heard in modern times.
BRMC are a rare gift to the current music world. Although each of their albums sounds totally different to the next, there are also links and similarities between them. How can this be so? It may be down to their meticulous attention to detail, or the diversity of the songs. More likely though, it is because the band are ever-evolving and moving forward, without drastically changing their signature writing ethos. This gives the listener a familiarity whilst listening to the albums. Each Album becomes more organic than the last, and the true-to-roots song writing style of Peter Hayes and Robert Levon-Been becomes less refined, thus giving the band more control and confidence in which direction they want their songs, and the albums as a whole, to go.
The title ‘Baby 81’ spawned the band’s tour of South East Asia after the Tsunami disaster. They stumbled upon Thai mothers trying to reclaim their lost babies, which were numbered outside a hospital the band happened to be passing. One baby was never claimed, and was seen with a cardboard sign above its head translated into reading ‘Baby 81’. Very sad, yet a great title for an album, they thought.
BRMC’s song writing style is a collaboration of every recognised rock, blues, folk or alternative band ever, ranging from the blues-rock Led Zeppelin-esque ‘666 Conducer’ and riff-laden ‘Took out a Loan’ and ‘Weapon of Choice’, to the bluesy-acoustic organic feel of the introductory ‘Shuffle Your Feet’, the southern American folk/gospel songs of ‘Devil’s Waitin’ (My personal favourite) and ‘Promise’. So you could say they are not breaking the mould, but what they are doing is playing their style better than anyone else, and more importantly, they are real. You can almost smell the leather of their boots stomping the floor of the barn they rehearse in.
The entire album ‘Howl’ was recorded on original 1960’s analogue equipment and the techniques used to record the band were true to that of their influences. This meant that the band were mic’d up in the recording studio and recorded as a band, using no studio trickery or overdubs which might make them sound more ‘appealing’ to the audience’s musical palette. Anyone who is a BRMC fan thrives off the ‘live’, organic and involving feel that this evenly portrays.
‘Howl’ was not all creative song writing, feet-stomping and roses on the doorstep, however. The recording process was dogged with logistical problems, with drummer Nick Jago being refused a visa, creating huge problems in booking tours to promote the album. This eventually led to Hayes and Levon-Been deciding to part company with Jago after countless arguments and dark rumours of substance abuse. The absence of Jago gave the surviving two members of the band a chance to sit back and write more stripped-back songs than previously attempted, trading grungy effects pedals and huge amplifiers for acoustic guitars, harmonicas and slides. This new approach resulted in the final track list on the album. It was a hard time for the band, who were also dropped from their record label, Virgin. Questions arose about whether they would make a profit with the new album, or if they would break even financially. The album shone through however, and with its barn-dance and honky-tonk rhythm, listeners and reviewers listened intently more out of interest than anything else, and were for the most part, blown away. Nick Jago returned towards the end of the record and the result is a band that has been resurrected. With a new record label in Red Ink and the album sounding so huge, but recorded in such a minimalistic way, you can hear yourself asking ‘how did they do that?’ after a single listen.
Keep a special look out for the secret track titled ‘Open Invitation’ which is located 5 minutes and 9 seconds into the final track titled ‘The Line’. ‘Open Invitation’ is possibly one of the most involving, moving, brave and striking folk/gospel songs ever written. It was written and recorded by Peter Hayes live in the studio in one take at the end of the ‘Howl’ sessions, using only a Pump Organ. This is an instrument, which is pumped using one hand (almost like an accordion) to project the volume from the organ via an analogue speaker instead of using an amplifier. The only overdub used on this track is the backing vocal, which adds to the evermore haunting feel of the song, which is about resumption, resolution, regret and nostalgia.
Also keep a special slot reserved for ‘Devil’s Waitin’. In a word -incredible, this is one of the most ambitious and brave songs written in recent times, taking influences from gospel, folk, country and blues, Peter Hayes has created his masterpiece. When performed live, Hayes plays this song solo, and so he should. Crowds fall silent and bathe in the simplicity and contrast of having Hayes play acoustic guitar on his own in front of them. The song is a far cry from the grungy, thrashy and dirty BRMC of old, and is – in my opinion – a breath of fresh air to their live repertoire, whilst also an obvious indication of the new diversity of the band.
‘Baby 81’ is the lovechild of all three first albums. With the first three songs being out and out belters. ‘Took Out a Loan’ is a brave yet masterful first track, spanning over 4 minutes of blues riff heaven. The next two tracks ‘Berlin’ and ‘Weapon of Choice’ were the first singles from the album and sound absolutely huge. The difference here between the heavy tracks on the first two albums (‘BRMC’ and ‘Take Them On, On Your Own’ - neither being reviewed here) is that the new ones are tuneful. They are sexy, they have groove and swagger and they have melody. It seems like the band are writing with confidence and for the love of their music, not just to make a statement to spite themselves.
For half of ‘Baby 81’ BRMC go back to cranking up their amps and plugging in their Gibson electrics. The fuzz effects they use are dark and warm and glow on their heavy tracks, such as the initial three, mentioned above, and the dark and brooding ’666 Conducer’, ‘Need Some Air’ and ‘American X’. The latter track is a song about the political state of post 9/11 America. It bizarrely has a track time of 9:11, which was apparently a coincidence. ‘Killing The Light’ comes next, and is a superb album track, with Hayes’ falsetto vocals giving a truly haunting feel before a chorus of wailing guitars and smashing drums hits you in the face.
BRMC’s dynamics on ‘Baby 81’ are fantastic. Their ability to switch from downright-all-out-amazing rock to quiet subtle folk/acoustic songs is astounding, reminiscent of bands such as Nirvana, Led Zeppelin, Muse, Kings of Leon and The Libertines. Yet, they add their own influences to the equation - which I love, and it really gives the songs a big boost. The album ends with the warm and mellow ‘Am I Only’ and the heavy and abstract ‘The Likes of You’. The stand out track of the album however, is a far cry from the heavy BRMC of old. ‘All You Do Is Talk’ is a song with vocal melodies so perfect they are almost divine. Not to be missed.
With a fantastic comeback from the brink with ‘Howl’ and ‘Baby 81’, this band are right here, right now, and deserve to be heard over the world.
Ian Easton
03.10.2007
BRMC are a rare gift to the current music world. Although each of their albums sounds totally different to the next, there are also links and similarities between them. How can this be so? It may be down to their meticulous attention to detail, or the diversity of the songs. More likely though, it is because the band are ever-evolving and moving forward, without drastically changing their signature writing ethos. This gives the listener a familiarity whilst listening to the albums. Each Album becomes more organic than the last, and the true-to-roots song writing style of Peter Hayes and Robert Levon-Been becomes less refined, thus giving the band more control and confidence in which direction they want their songs, and the albums as a whole, to go.
The title ‘Baby 81’ spawned the band’s tour of South East Asia after the Tsunami disaster. They stumbled upon Thai mothers trying to reclaim their lost babies, which were numbered outside a hospital the band happened to be passing. One baby was never claimed, and was seen with a cardboard sign above its head translated into reading ‘Baby 81’. Very sad, yet a great title for an album, they thought.
BRMC’s song writing style is a collaboration of every recognised rock, blues, folk or alternative band ever, ranging from the blues-rock Led Zeppelin-esque ‘666 Conducer’ and riff-laden ‘Took out a Loan’ and ‘Weapon of Choice’, to the bluesy-acoustic organic feel of the introductory ‘Shuffle Your Feet’, the southern American folk/gospel songs of ‘Devil’s Waitin’ (My personal favourite) and ‘Promise’. So you could say they are not breaking the mould, but what they are doing is playing their style better than anyone else, and more importantly, they are real. You can almost smell the leather of their boots stomping the floor of the barn they rehearse in.
The entire album ‘Howl’ was recorded on original 1960’s analogue equipment and the techniques used to record the band were true to that of their influences. This meant that the band were mic’d up in the recording studio and recorded as a band, using no studio trickery or overdubs which might make them sound more ‘appealing’ to the audience’s musical palette. Anyone who is a BRMC fan thrives off the ‘live’, organic and involving feel that this evenly portrays.
‘Howl’ was not all creative song writing, feet-stomping and roses on the doorstep, however. The recording process was dogged with logistical problems, with drummer Nick Jago being refused a visa, creating huge problems in booking tours to promote the album. This eventually led to Hayes and Levon-Been deciding to part company with Jago after countless arguments and dark rumours of substance abuse. The absence of Jago gave the surviving two members of the band a chance to sit back and write more stripped-back songs than previously attempted, trading grungy effects pedals and huge amplifiers for acoustic guitars, harmonicas and slides. This new approach resulted in the final track list on the album. It was a hard time for the band, who were also dropped from their record label, Virgin. Questions arose about whether they would make a profit with the new album, or if they would break even financially. The album shone through however, and with its barn-dance and honky-tonk rhythm, listeners and reviewers listened intently more out of interest than anything else, and were for the most part, blown away. Nick Jago returned towards the end of the record and the result is a band that has been resurrected. With a new record label in Red Ink and the album sounding so huge, but recorded in such a minimalistic way, you can hear yourself asking ‘how did they do that?’ after a single listen.
Keep a special look out for the secret track titled ‘Open Invitation’ which is located 5 minutes and 9 seconds into the final track titled ‘The Line’. ‘Open Invitation’ is possibly one of the most involving, moving, brave and striking folk/gospel songs ever written. It was written and recorded by Peter Hayes live in the studio in one take at the end of the ‘Howl’ sessions, using only a Pump Organ. This is an instrument, which is pumped using one hand (almost like an accordion) to project the volume from the organ via an analogue speaker instead of using an amplifier. The only overdub used on this track is the backing vocal, which adds to the evermore haunting feel of the song, which is about resumption, resolution, regret and nostalgia.
Also keep a special slot reserved for ‘Devil’s Waitin’. In a word -incredible, this is one of the most ambitious and brave songs written in recent times, taking influences from gospel, folk, country and blues, Peter Hayes has created his masterpiece. When performed live, Hayes plays this song solo, and so he should. Crowds fall silent and bathe in the simplicity and contrast of having Hayes play acoustic guitar on his own in front of them. The song is a far cry from the grungy, thrashy and dirty BRMC of old, and is – in my opinion – a breath of fresh air to their live repertoire, whilst also an obvious indication of the new diversity of the band.
‘Baby 81’ is the lovechild of all three first albums. With the first three songs being out and out belters. ‘Took Out a Loan’ is a brave yet masterful first track, spanning over 4 minutes of blues riff heaven. The next two tracks ‘Berlin’ and ‘Weapon of Choice’ were the first singles from the album and sound absolutely huge. The difference here between the heavy tracks on the first two albums (‘BRMC’ and ‘Take Them On, On Your Own’ - neither being reviewed here) is that the new ones are tuneful. They are sexy, they have groove and swagger and they have melody. It seems like the band are writing with confidence and for the love of their music, not just to make a statement to spite themselves.
For half of ‘Baby 81’ BRMC go back to cranking up their amps and plugging in their Gibson electrics. The fuzz effects they use are dark and warm and glow on their heavy tracks, such as the initial three, mentioned above, and the dark and brooding ’666 Conducer’, ‘Need Some Air’ and ‘American X’. The latter track is a song about the political state of post 9/11 America. It bizarrely has a track time of 9:11, which was apparently a coincidence. ‘Killing The Light’ comes next, and is a superb album track, with Hayes’ falsetto vocals giving a truly haunting feel before a chorus of wailing guitars and smashing drums hits you in the face.
BRMC’s dynamics on ‘Baby 81’ are fantastic. Their ability to switch from downright-all-out-amazing rock to quiet subtle folk/acoustic songs is astounding, reminiscent of bands such as Nirvana, Led Zeppelin, Muse, Kings of Leon and The Libertines. Yet, they add their own influences to the equation - which I love, and it really gives the songs a big boost. The album ends with the warm and mellow ‘Am I Only’ and the heavy and abstract ‘The Likes of You’. The stand out track of the album however, is a far cry from the heavy BRMC of old. ‘All You Do Is Talk’ is a song with vocal melodies so perfect they are almost divine. Not to be missed.
With a fantastic comeback from the brink with ‘Howl’ and ‘Baby 81’, this band are right here, right now, and deserve to be heard over the world.
Ian Easton
03.10.2007
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