The recently crowned monarchy of rock music, Kings of Leon became a household name last year thanks to the upbeat sounds of “Use Somebody” and “Sex on Fire.” Relatively unknown in the U.S. prior to these releases, Kings of Leon stepped into the national limelight, conquering Top 40 radio in a way no rock band has since Green Day’s reign from 2004 to 2006.
However, the massive success proved too much for the band at the time –– the lead singer Caleb Followill famously declared that he wants to “shoot himself in the head” every time he hears “Use Somebody.”
Suicidal bravado aside, this band of musicians has returned with their follow-up to the wildly successful “Only By the Night.” This particular effort is titled “Come Around Sundown,” and it strays further still from the southern rock that formed the band’s musical roots.
Similar musical themes
Nevertheless, listeners will have a sense of familiarity as they play through the disc. Kings of Leon employs similar musical themes that permeate the sonic landscape of the record, complimented by the plaintive howl of Followill’s vocals.
The beginning track is ironically titled “The End,” and sounds like a decelerated, groggier rendition of “Sex on Fire.” The verse’s melody lines mirror the previous song almost to a tee. Generally, it’s not recommended to forge your own music — but here, it’s forgivable, as “The End” forms a solid beginning to the record, while setting the tone for the rest of “Come Around Sundown.”
First single is soulful
The first single, “Radioactive,” follows. Here, the band pays homage to their gospel roots, employing a backing choir for the chorus. It is a soulful, soaring track that bubbles over with effervescent energy.
“Pyro” slows things down, but continues to exhibit the same spiritual longing of “Radioactive,” while “Mary” calls to mind a beefier rendition of early Beatles tunes. Kings of Leon pay homage to the original kings of pop rock and roll with whimsical doo wop aa’s and oo’s, and refined yet unobtrusive guitar solos, making for a stand out track.
Tinkly guitar delay is prevalent throughout most of the record, particularly on “The Immortals,” a sludgy track that remains interesting only because of guitarist Matthew Followill’s work. It doesn’t quite reach the level that would merit comparison to U2’s trademark sound, but the other Followill’s riffs continue to drift towards Edge-ian status — albeit with a muddier and more down-to-earth sound than the spacey tones of U2’s axeman.
Stand out in the typical Top 40 culture
After a while, the songs all start to sound similar because of this choice in guitar tone. However, the band shows enough diversity to keep things interesting. They bring listeners “Back Down South” with a southern country flair, incorporate a merry cowbell-driven beat on “Pony Up” and beach-day leisure in “Birthday.”
What sets this band apart are the songs that are about more than umbrellas, prepubescent teenage love or being “like a G6”— whatever that means. While Kings of Leon are far from perfect, and sometimes misfire on “Come Around Sundown,” there is no denying that they stand out amidst the mass produced Top 40 culture.
There is a kind of honesty and spiritual undertone that cannot be denied. This has driven the likes of The Arcade Fire, Mumford and Sons, and before that, 1980’s-era U2, to unprecedented heights in the pantheon of popular music. They aren’t the sanctified saviors of music, but they do bring more to the table than your typical flavor-of-the-week, pre-packaged pop artist.
