Kings of Leon was formed in Tennessee in 1999 of brothers Anthony Caleb, Ivan Nathan and Michael Jared Followill and their cousin Cameron Matthew Followill. Come Around Sundown, the band’s fifth album illustrates their early southern rock and blues influences, and in this day and age, it is incredibly refreshing to hear such a pure and authentic sound. They ascended into mainstream rock after the incredible success of Only By The Night singles ‘Use Somebody’ and of course, the notorious ‘Sex on Fire.’
Their previous two albums peaked at number one, so there was a great deal of demand for Come Around Sundown to be just as spectacular. All four members were raised in the United Pentecostal Church community, which they utterly rebelled against through the music they created and the tours they experienced. Come Around Sundown takes a jump back to the band’s defiant youth with its chilled, but sex, drug and drink induced echoes.
There has always been something very haunting about the music that Kings of Leon compose, but unusually, this is without a catchy pop beat or chorus. Track one, ‘The End’ begins with a steady drum beat, then an addition of bass, smooth guitar and eventually the unique vocals of Anthony, better known as Caleb Followill and a gorgeous piano coda. By introducing each instrument individually, each member is able to portray their skill and development as a musician, but it also allows the listener to pick out the various elements that combine together to form the track. With guitaring that flows like a river and a steady back beat, this track conveys how festival-perfect Kings of Leon are, even with the gentle piano to rounding off ‘The End.’ Having said that, I personally, cannot forget the band’s pitiful performance when headlining Reading Festival in 2009.
The second track, ‘Radioactive’ was released as a single in September of 2010, which peaked at number one in the US Billboard Alternative chart and was nominated for a Grammy Award for Best Rock Performance by a Duo or Group as well as Best Rock Song. It is also utilised in the up-and-coming film ‘I am Number Four.’ As the track begins, you can hear the movement and progression in the beat and the epic arena-filling blare that Kings of Leon possess. The husk and growl of Caleb Followill’s voice enhances the nature-orientated atmosphere, enhanced by the album title itself. The untainted, fresh music is something that the Followills appear to be able to generate so easily and there is something addictive about this track in particular, but not conventionally so. There are so many elements to each track of Come Around Sundown, but in Radioactive in particular, the addition of the gospel choir for backing vocals illustrates the positive progression of the band as they increase in popularity, without compromising the type of music they want to produce thus far.
‘Pyro’ was also released as a single, but not until the beginning of December of 2010, allowing fans just a few days to digest the song individually before experiencing the album in its entirety. Peaking at number sixty nine in the UK Singles Chart, it was not recognised as a popular construction single-handedly and unaided by the rest of Come Around Sundown. However, with the quirky yet gentle edge of this track is very rare and very charismatic. The beautiful yet simple riff running through the track drives it, along with the steady drumming, and the listener can feel how much the echoes make Kings of Leon perfect for large venues and large crowds. Wavering yet unchangingly confident and seemingly effortless vocal abilities of Caleb Followill is primarily what makes this band so distinctive.
Fourth track ‘Mary’ depicts the differentiation in song structures that Kings of Leon decided to utilise for this album, revealing their individuality even further. Although it initially begins as the previous three tracks from Come Around Sundown did, it rapidly develops into a backing vocal piece within approximateky two seconds, demonstrating the band’s diversity of song writing. Yet, it still confirms a classification of who Kings of Leon are musically; something that is pretty much indefinable to anyone but the band members themselves. As the song appears to begin with a chorus-like verse, it is very curious for the listener, and along with the guitar solo, a timeless sounding melody.
The off-beat and unconventional vibe of this album rings true in ‘The Face’, as well as a portrayal of the band’s humble southern beginnings and honest lyrics combining love, sex and drugs, ‘Beneath the dance hall lights, you see my girl so sound, lights up the ground.’ The Tennessee quartet tend to craft such catchy choruses by repetition, which is clearly within this track ‘Ride out the wave.’ The constant reference to the outside world is also what makes them so perfect for outdoor settings such as festivals, along with their genuine sound.
Their personal and expressive yet stadium-sound rings true in ‘The Immortals’ and it is a wonder why this track was never released as a single with its stunningly lingering and tear-jerking melody that begins so cheer-filled. The chorus in particular begins instrument-driven until the repetitive lyrics return and tug at the heart strings of the listener, ‘Spill on the streets of stars. Ride away...’. This track is very motivational yet unspecific in what the lyrics are actually about, which is the beauty of it, ‘Find out what you are. Face to face. The perfect picture; they’re always changin’...’ . However there is a reference to the concept of over-thinking because of loneliness, ‘Don’t forget to love, before you’re gone.’ The poignant vocals are almost over-taken by the ever-changing functions of the other instruments in this track, making it expressive and wonderfully lingering tracks.
‘Back Down South’ is very southern-sounding, so much so that you can almost smell the outside air. It illustrates the storytelling abilities of Kings of Leon through their lyrics, and how a simplistic song structure, made up mainly of guitar can create a classic sound, not dissimilar to that of The Killers at times. Most of the tracks from Come Around Sundown are unusually base-driven, making ‘Back Down South’ a welcomed addition to the complication because of the variety it provides. The funk roots of the band are apparent in ‘Beach Side’, yet they still manage to retain their current progressive, laidback and timeless peak.
‘No Money’ is instrument driven and sincere, ‘Won’t you peel me off the street...’, citing loss and freedom whereas ‘Pony Up’ brings back the bass-driven sound that Kings of Leon are famous for, and it is amazing that a band can establish such a strong connection with so many fans with such general lyrics and instrument based songs. Moreover, track eleven, ‘Birthday’, expresses high-quality simplicity, and the infinitive power it can have over a listener. ‘Mi Amigo’ confirms the trustworthiness of the band through their lyrical storytelling of a friend who ‘Shows me all the good times...’ with its saxophone padded tune. The thirteen and final track of Come Around Sundown is ‘Pickup Truck’ which displays Kings of Leon’s humility but additional track ‘Celebration’ from the deluxe version brings back their bolder sound.
The three Followill brothers spent much of their youth travelling the Southern states of the US, which is evident throughout Come Around Sundown because of the feeling of liberty through nature that is constructs. It is darker than previous complications but integrity is something fans of music certainly appreciate nowadays. Come Around Sundown is a beautifully composed country-rock album composed of quirky harmonies, instrumentals and the occasional corker worthy of 30 Seconds To Mars’ summit stadium standards.
 |
| Album artwork for Come Around Sundown |
3/5
No comments:
Post a Comment