Kings of Leon - Only by the Night Review

Posted by James Palm on 09.23.2008

Slowly becoming one of America's biggest rock exports, the Tennessee-bred but more recently Northern-influenced Followill siblings return with their fourth LP in five years. How does the new material stack up against their previous modern classics? Regretfully, the answer is lackluster.

In 2003, an unofficial race began within the music industry. Unofficial in that to the best of my knowledge, the only person keeping track of this race is me. The prize is the title of ‘Best American Rock Band’. That year two particular American rock bands released their debut albums. Since then, both of these bands have had productivity unheard of in the last two decades, this year both releasing their fourth LP’s in five years. Even more intriguing is the fact that thus far each album has been fantastic; both outfits slipping in a masterpiece or two. One of these bands have already presented their latest effort in 2008; the Hold Steady with Stay Positive, an easy album of the year contender. Their proverbial opponents, Kings of Leon, have been slowing evolving over each recording, and now the Southern siblings are arguably one of the most popular rock acts on the circuit. How the crowds react to this inadequate album should prove interesting.

Only By The Night is the sound of the Kings waving goodbye to their roots and moving to Los Angeles. The character of their previous work has diminished significantly. Once, the band was like that awesome guy who knew how to party and always got the chicks. It began with their dirty Tennessee rock debut, then the bright lights of the big city started to influence the Followills, and they created the soundtrack to your life. Aha Shake Heartbreak was the Kings with more focus, more stories and more swagger. However, it now seems that all that sex is starting to affect them - if first single “Sex on Fire” wasn’t enough of a giveaway/admission – as that guy you used to admire now comes across as an annoying twat.

Said single is a pleasing stadium rock ballad, and is an album highlight, though mostly by way of default. Yet the problem is that at track number three, Only By The Night spills into dawn. After a powerful opening triumvirate, the album drops off considerably. Opener “Closer” throws a few new things our way, indicating the boys have invested in some effects pedals, while “Crawl” is the Kings only attempt at evolution; heavy bass distortion lending a Primal Scream influence. Matthew also takes one of his scattered opportunities to shine with a solo worthy of Pete Townsend. “Sex on Fire” itself is everything the single should be; catchy and phenomenal. However the album lacks the depth to maintain the momentum.

As ...the Night wears on, the band sound less and less like themselves, or like pale imitations of their past selves. “Use Somebody” is a formulaic addition to the recent Springsteen-is-God canon prevalent in indie-inclined rock bands. It also sets a precursor for the majority of the album, as Matthew’s guitars are overshadowed by Jared’s bass and various effects. The Kings signature sound came from unhinged interplay from all four band members; they weren’t all playing drastically different parts, but there was variety. Now, everything is quite mundane; there’s no excitement factor, and the band themselves sound uninspired. At least three songs begin by discussing dancing, and frontman Caleb sounds tired of his night-time adventures.

“Revelry” has him longing for a lost love in one of the few sympathetic lyrics on the album, however the majority of his confessions come across insufferably, especially since he later finds under-age love in “17”. His musings on the price of fame felt honest on Aha Shake...’s “Day Old Blues” - ” Low and behold things are killing me/Silly expectations of a dream/Girls are gonna love the way I toss my hair/Boys are gonna hate the way I seem”, and he proved he had a heart on “Fans” from Because of the Times” – “And her hair-do/He knows the lipstick kisses/Oh yeah that's the right move/Make me feel like I'm the one who moves you/The only one you see”. Some lyrical moments here border on embarrassing, “Manhattan” in particular is an apathetic track with simple intentions - ” I could dance all night/And some of the day/That's how I play/That's how I play/I say who are you/No matter who you are/So you dance all night /And you dance all day”.

Is it deliberate? Does the band simply inhabit the personas of lousier people in their songs as a negative portrayal of the people they’ve come across in their travels? Probably not. Truth be told, the band is still evolving, but they are losing the brashness that gave them character above lesser bands. Some songs amongst the glut of arena rock have stirring moments – the piano and guitars on “Notion” creating a harmony ironically similar to the Hold Steady and a tiny bit of the swagger returns on “Be Somebody” – but ultimately Only by the Night just simply cannot live up to its predecessors. In terms of my extravagant and imaginary race, the Kings just dropped off in pace, and the Hold Steady have built up a strong lead.

The Hit - Crawl
The Encore - Sex on Fire
The Wah? - 17

The 411: The album is disappointing if you set your expectations high. If you’re a fan, there’s a chance you’ll grab it regardless. If the furious guitars and rough composition got you hooked on the Kings before, you’ll simply find yourself flat after finding their signature rock replaced with lacklustre stadium filler. The brothers and cousin Followill know that they play to the big crowds now, and the music certainly matches that feeling. If I didn’t make it obvious enough already, go buy Aha Shake Heartbreak instead.

Final Score:  5.0   [ Not So Good ]