Album title: ‘Come Around Sundown’

Artist: Kings of Leon

Genre: Rock/Pop/Alternative

Sounds like: Kings of Leon meets U2

Sound waves: 4/5

Release date: Oct. 18, 2010

With the release of ‘Come Around Sundown,’ Tennessee rockers Kings of Leon continue making their case as America’s biggest rock band. Building on the success of their 2008 album ‘Only By the Night,’ the Kings have retained their pop sensibilities while crafting a more mature album, rich in mood and melody. Many of these songs will endure as innovative achievements for a band that has spent years earning its stripes.

Change is nothing new to Kings of Leon. The band’s style and sound have evolved over the years, from bluesy southern rock to alternative-pop rock designed to bring down stadiums. This was evident with the band’s Grammy Award-winning ‘Only By the Night,’ which sold 6.5 million copies worldwide. While the album was a resounding success, it polarized fans with its mainstream-friendly production and catchy choruses: They either loved it or hated it.

In that regard, the sleek engineering of ‘Come Around Sundown’ initially leads us to think that this is another pop album from the Kings. Not quite. The band takes its brawny productions and turns the attention to mood and emotion, making an album that’s deeper than its previous album.

Creating distinct moods and communicating attitude are the Kings’ primary concerns throughout this album. This much is apparent in ‘The End,’ the ironically titled album opener that comments on the band’s recent success. Wailing ‘this could be the end’ over spacey guitars and a plodding beat, front man Caleb Followill tries to convince us that fame and fortune will never satisfy.

The moody vibe of the opener carries into lead single ‘Radioactive,’ a song with cryptic lyrics resembling U2 during its edgier, late-80s days. ‘Pyro,’ a gloomy song, describes feeling upset with the world and wanting to burn it all down. Followill’s strained vocal delivery and glass half-empty mentality command full attention, and the band’s musical execution is just beautiful.

‘Mary’ is a more upbeat song that softens the mood with doo-wop vocal harmonies and a fabulous guitar solo from Matthew Followill. Coming down from that high, the transition into ‘The Face’ parallels the slowing pace when the lyrics urge us to ‘ride out the wave.’ 

‘The Immortals’ is one of the more experimental tracks on the album, with its off-tempo guitar layering and unpredictable rhythm. Bolstered by an uplifting and powerful chorus, this is a reflection on fame and never forgetting to keep perspective.

‘Back Down South’ sounds like a close relative of U2’s ‘Red Hill Mining Town,’ with its country-inspired slide guitars and violins. This ode to coming back home is refreshing. As much as the Kings of Leon evolved from its Tennessee-garage rock roots, the band members still haven’t lost touch with themselves. ‘Beach Side’ is a playful counterpart to ‘Back Down South,’ where there are no beaches. A faster-paced beat runs contrary to the song’s theme of wanting to just settle down and relax.

The last third of ‘Come Around Sundown’ focuses on departure and cynicism. ‘No Money’ is about panic, burning out from too much pressure and then wanting to cut loose and run away. ‘Pony Up’ has Caleb trying to convince us to join him: ‘If you take my hand, I’m gonna get you outta here.’

‘Birthday’ is an apparent love song about coming together and celebrating. However, the happy melodies only serve to mask the underlying sarcasm and suggestions of domestic violence. ‘Mi Amigo’ is similar in tone, exploring the perpetually fine line between a true friend and drinking buddy. For someone who sounds inebriated half the time anyway, Caleb makes this anthem to alcohol sound charmingly honest.

‘Pickup Truck’ is a powerful ending to an equally powerful album. The lyrics describe a physical altercation that arises over an unforeseen love triangle. Fans of Third Eye Blind’s ‘Motorcycle Drive By’ will immediately be drawn into this song’s parallel melody that is also an original story.

Overall, ‘Come Around Sundown’ challenges the faith of Kings of Leon fans. The big guitar riffs, the atmospheric moods and the dense melodies suggest the band will never go back to its southern blues roots. This may be a letdown to some. Yet the band deserves praise for pushing its craft to new heights and cultivating a wholly unique sound amid all of its mainstream popularity. Down the road, we may look back on ‘Come Around Sundown’ as the album that solidified Kings of Leon as America’s premier rockers.

ajhaeder@syr.edu

Published on October 25, 2010 at 12:00 pm