Kings of Leon – “Come Around Sundown”

It’s like, what? Maybe one in the afternoon; you just woke up and you’re still drunk. Through an expensive hangover there’s the realization that you had to be in the studio fifteen minutes ago. In front of the microphone you make up the lyrics – then openly admit to doing so in later interviews (see article on nme.com) – and after the first few songs even you think it sounds like garbage. Following a brief family huddle, the guitarists decide to just amp the reverb and you all agree that things will be ok. A few hours later, and you’ve just created Come Around Sundown.

If you read other reviews for the new Kings of Leon album, you’ll realize that slandering the thing isn’t original, or particularly productive. But the most pertinent problem that this record creates isn’t even in regards to the Kings themselves; the real problem, the real head scratcher, is that people seem surprised and even a little pissed off by the sub-standard release.

Everyone who bought Only By The Night, raise your hands; everyone who went to sold out arena shows across the country, raise your hands; everyone who heard “Use Somebody” and didn’t seem struck by the inane simplicity of the arrangement, raise your hands. I could go on. It might be harsh, but this is kind of your fault… you bought the album in the millions, and then you propped up the headlining shows in 20,000 seat stadiums, and now you have the audacity to complain that it sounds like stale stadium rock?

In this situation it’s hard not to feel bad for the Followill clan. The industry shoved praise down their throats, packed a sense of entitlement into hugely inflated heads, and poured an ocean’s worth of free liquor down their throats; but now everyone’s defected from the once glorious Kings of Leon camp. And the fact remains that these four guys were used like a greasier, drunker version of your typical industry prop (see: Justin Bieber)… and it’s sad, because they used to have so much promise.

As for the music, it’s not of the highest quality. Sticking to King’s usual formula, it’s a heavy bass line which carries almost every song, and then it’s Caleb’s howling voice which defines the melody, the mood, the climaxes and resolutions. But even as a gigantic misstep, the album does have its moments: “Pyro” is well paced and dynamic; “The Face” has nice interplay even though it occasionally sags; and the closing “Pickup Truck” is arguably the only song on the album that manages to effectively develop both sonically and emotionally.  [ END ]

Track Listing:

01. The End
02. Radioactive
03. Pyro
04. Mary
05. The Face
06. The Immortals
07. Back Down South
08. Beach Side
09. No Money
10. Pony Up
11. Birthday
12. Mi Amigo
13. Pickup Truck

Run Time: 47:26
Release Date: 10.19.2010