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Come Around Sundown (Extended Version)

Kings of Leon

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Customer Reviews

Back Down South, Where They Belong

Sometimes when a band breaks mainstream with a juggernaut of an album, the audience gets a listening overload, especially if they’re late to the game. Typically an album won’t have more than four radio singles, unless the record company sees massive new appeal. Kings Of Leon’s “Only By The Night” had 6. For an album that dropped in 2008, we were still hearing a whole lot of it even in to early 2010. If you chose to listen intently, then maybe a new album won’t excite you like it should. But “Come Around Sundown” is something to get excited over.
The Followills are trying to cope with the fame that they weren’t intentionally seeking on their fourth album. It’s been a disenchanting journey that’s alienated a lot of their early fanbase, accusing them of selling out. The record they’ve produced here is the result of a band who got tired of singing “Your sex is on fire” and having meatheads pretend there’s a deeper meaning. This time, it feels like the lyrics mean something. They get personal, they’re about family (Radioactive), screwing up (Mi Amigo), and having a good time (Birthday, Pony Up).
Plenty of the tracks prove they can still bring the grungy southern cut that made them famous. The whole record feels like a transitional period between “Aha Shake Heartbreak” and “Because Of The Times” that never happened. Call it a prequel, if it makes better sense. It shows the band experiment in fields they can handle much better than synthesized or heavily produced tracks like they had on “Only”. A prime example of this would be the classically country “Back Down South”, a song so phenomenally camaraderie building, it has the potential to be a worldwide, lasting hit. Or at least one to replace that repulsive excuse of auditory rape that Kid Rock vomited on to radio last year. “Back Down South” gets stuck in your head for days, and has an even stronger punch live. It feels like it could slip on to the “Crazy Heart” soundtrack unnoticed, and sit with the upper echelon of country music going unheard in the age of the Rascall.
“Sundown” is not a fast record, with lead single “Radioactive” probably being the fastest song along with “No Money”. But it never feels truly boring. It has lulls, but the listener is constantly rewarded. Such an example of a true reward would be “Pickup Truck”, where simplistic echoed guitar coupled with Caleb’s bone chilling, hair-raising wail, paints a picture vivid enough to maybe be a prequel to the King’s best song “Knocked Up”. It’s the track loyal listeners deserve after sitting through songs like “Seventeen” or “I Want You” off “Only”. It’s one of the best songs they’ve ever written. The album isn’t without its share of duds, but the only one worth singling out is “The Immortals”. It’s lyrically ridiculous, and musically inconsistent. The only thing keeping the record alive is the auditory resuscitation that occurs immediately after through “Back Down South”, a song that could bring a dead cowboy back to life with its sheer appeal.
It’s hard to feel connected to a band this big, but this album seriously feels like a love letter to fans who’ve stayed loyal. They have to be willing to change a bit, the band has so many obligations to so many demographics, but this is seriously the roots return the boys promised, just without a metric ton of blow and whiskey fuelling the affair. This is a fantastic record, and a contender for Kings of Leon’s best yet.

Download: The End, Radioactive, Pyro, Mary, Back Down South, No Money, Pony Up, Mi Amigo, Pickup Truck

There Is A Fine Line Between Greatness & Stupidity. This Album Achieves The Latter.

This album stinks. Remember Youth, Young, and Manhood and Ah Ha Shake Heartbreak? Those were great rock n roll albums full of energy and passion. KOL are now fully treading the waters of mediocrity. The hooks are few and far between and the melodies are all but nonexistent. The only great song (and truly is a great KOL song) is Back Down South. But other than that this album in very uninspired. This is a totally different band from when they first came out. Nothing wrong with re-invention and changing your sound but only if it works. Years from now this album will be considered nothing more than filler. Perhaps next time Caleb can write actual lyrics as opposed to ad-libbing the songs, which he has admittedly done. If they continue this trend of U2ish sound they will all but be forgotten. Better luck next time.

Meh.

Don't know what to say. I guess if you're trying to compare it to the older stuff that they originated with, yeah this album is going to be a huge disappointment. Melow, simple, and nothing that gets the hair rising from the goosebumps you feel when you hear it. Not a real rock n roll sound that they very much established from there first few albums. I find myself listening to the older stuff after listening to this album just to reassure myself that these guys are still in fact the same band. I understand how bands change their sound, however, that doesn't mean lose your identity and that's exactly what they're doing. Sometimes high expectations isn't such a great thing.....especially when the band raised the bar so high at such an early stage in their careers. Hopefully they find that unique rock n roll style that they've identified themselves with in the next album.

Biography

Formed: 2000 in Nashville, TN

Genre: Alternative

Years Active: '00s, '10s

Initially embraced as "the Southern Strokes" for their resurrection and reinvention of Dixie-styled rock & roll, Kings of Leon steadily morphed themselves into an experimental rock outfit during the 2000s. The Tennessee-bred quartet debuted in 2003 with the Holy Roller Novocaine EP, whose blend of raw, unpolished boogie rock was further explored on their debut full-length, Youth & Young Manhood. Such revivalist music was matched by a similarly revivalist appearance — including long...
Full bio

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