Review by Kim Larkin
Almost every aspect of Lisbon will remind you of another song or band, sometimes just proving that there is something else you could be listening to, including ‘old school’ The Walkmen. Leithauser’s vocal seem to be a combination of Dylan’s pronunciation and the presentation of risky range heard in the Cold War kids. Upon saying that, he does completely hold his own in comparison to the messy music (bringing us back to the garage aspect of The Walkmen). Let me just clarify as messy not being a bad thing, in Victory for example. There’s a pleasant delay to the sound, and it gives off the same charm as any Vampire Weekend song where, regardless of the intentions behind the lyrics, it seems like a decent ‘summer song’; see Woe is me, undoubtably the highlight of the album..
In all honesty, any sentiments presented in the album through the lyrics are lost as focus remains on the music, the melody of Leithauser’s voice turns purely into notes through his elongated vowels and lazy words, as the guitars normally remain quite sharp and almost piercing. There’s something simple and genuine about all the songs, and their earnest sound (yes, including the mariachi horns) will let you forgive the upcoming disappointment and listen to the album a second time (possibly more) without resentment.
While I Shovel the Snow is the main plateux of the album, where nothing seems to be happening, especially in comparison to the momentum in songs from the first half of Lisbon. It’s somewhat of a let down as The Walkmen seem to ignore the contrasting dynamics of songs such as Angela Surf City and Blue as Your Blood, which is what really makes the album. Listening to the last few songs on Lisbon just feels like a poorly staged concert where all the energetic songs are played at the start to get the crowed going, and all the lullabies are played at the end of the to serenade sleepy attendants to their cars. The song Lisbon itself is a big step away from The Walkmen fans knew from their biggest hit The Rat in 2004. It’s a decent song, but not worthy of being deemed the albums title.
Lisbon is a far lighter album than their earlier Bows + Arrows and You & Me, but with the same regal feel expected of The Walkmen and their use of trumpet processionals, vintage instruments and upright pianos. Combining what sounds like garage and folk (unsurprising as Chris Zane, Mumford &Sons producer also produced this album), The Walkmen return to their original roots as members from garage/indie bands Jonathan Fire*Eater and The Recoys.
3/5
In all honesty, any sentiments presented in the album through the lyrics are lost as focus remains on the music, the melody of Leithauser’s voice turns purely into notes through his elongated vowels and lazy words, as the guitars normally remain quite sharp and almost piercing. There’s something simple and genuine about all the songs, and their earnest sound (yes, including the mariachi horns) will let you forgive the upcoming disappointment and listen to the album a second time (possibly more) without resentment.
While I Shovel the Snow is the main plateux of the album, where nothing seems to be happening, especially in comparison to the momentum in songs from the first half of Lisbon. It’s somewhat of a let down as The Walkmen seem to ignore the contrasting dynamics of songs such as Angela Surf City and Blue as Your Blood, which is what really makes the album. Listening to the last few songs on Lisbon just feels like a poorly staged concert where all the energetic songs are played at the start to get the crowed going, and all the lullabies are played at the end of the to serenade sleepy attendants to their cars. The song Lisbon itself is a big step away from The Walkmen fans knew from their biggest hit The Rat in 2004. It’s a decent song, but not worthy of being deemed the albums title.
Lisbon is a far lighter album than their earlier Bows + Arrows and You & Me, but with the same regal feel expected of The Walkmen and their use of trumpet processionals, vintage instruments and upright pianos. Combining what sounds like garage and folk (unsurprising as Chris Zane, Mumford &Sons producer also produced this album), The Walkmen return to their original roots as members from garage/indie bands Jonathan Fire*Eater and The Recoys.
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