Written by John Raines
Atop the Mulberry Street Ristorante in Fullerton, Calif., there lies a very cozy apartment. Years ago, up in that apartment, the sounds of stomping, clinging tambourines and cymbals, piano ballads and jangly guitars were often heard. This was the birthplace of Cold War Kids. The band kept the soul and feeling of this origin in their first two EP releases, “With Our Wallets Full” and “Mulberry St.” Much press and blog fanaticism was a result of these first tastes of the band (which took its name from the bass player’s previous art company), and from there on out the next logical step was to find a label. Cold War Kids eventually signed to Downtown Records (home of Gnarls Barkley and Art Brut) and unleashed their debut album “Robbers and Cowards.”
The album had wild success – 165,000 sold, and counting – and there was much anticipation for the follow up. “Loyalty to Loyalty” has finally arrived, and it stands on new ground for the Cold War Kids. The band has obviously learned to play together well after years of touring, and this album reveals a darker side, while still keeping to the Cold War Kids’ rock foundations.
The first song, “Against Privacy,” has a great jazz shuffle drum beat supported by lead singer Nate Willets’ lyrics in a mood-driven atmosphere. It is very political, and easily pulls you into the band’s world. “Mexican Dogs,” the second track, is the new “Hang Me Up to Dry,” with loads of heaviness and dark rock. Track three, “Every Valley is Not a Lake” is a well-crafted song. Its lyrics are upfront and poetic, speaking of a young, naive boy who has lost some of his respect for his elders and their old ways. The theme is exemplified in the bridge, “You’ve got your father’s reckless charm, babe/ as long as you’re giving somebody take/ but every sermon is not the gospel babe, let me put it another way/ every valley is not a lake.” These vocals are supported by soul and blues-influenced piano, as well as inventive drums and a muddy guitar.
Yet Cold War Kids go much further in this album, in what is arguably the best song, “Relief.” It lies toward the end of the album, but as soon as it begins an entirely new world of imagination comes from the band. The drums are choppy and tasteful, just to start off, while the bass yields some impressive technicality and creativity. There looms over the whole sound the presence of a Radiohead-esque electronic force. Honestly, until Willet’s falsetto vocals enter the scene, you can hardly believe it’s Cold War Kids. It not only makes you love what you’re hearing, but it makes you want to hear what the third album will sound like.
“Loyalty to Loyalty” definitely pushes forward, though there are rough parts and places where things seem confused. The music needs to establish its mood in each song, the lyrics need to decide if they will continue diving into characters and telling stories, or step back into the audience and write about subjects and philosophies; or do both. But the songs on this album that are difficult at first to enjoy are that way because they’re at a deeper level (not so pop as the previous album).
“Loyalty to Loyalty” is an impressive sophomore release from a band created right in Biola’s backyard. The record should launch Cold War Kids to even greater fame than they’ve seen in the last two years. The days when the band played Eddy’s in the Hope Amphitheatre are long gone, replaced by main stage festival performances, headline tours, and Billboard charts. But their sound is just as impressive now that everyone knows about them, as it was when they humbly began.
