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iTunes Review

For their seventh album in 10 years, The Walkmen keep refining their strangely catchy brand of moody indie rock. Heaven is a bit slower than its predecessors, but Hamilton Leithauser’s wonderfully drawn-out and affected voice is there at the forefront, floating atop a choppy sea of strummed guitars and thick bass lines. Thanks to the renowned Seattle-based producer Phil Ek (his generation’s answer to Joe Boyd), the electric sparks of a great live show combine with the layered intricacies of a labored-over studio album. “Heaven” is a detuned jangle-romp that flirts briefly with being an anthem before going home and crawling into bed. “Line by Line” is an unabashed lullaby. “No One Ever Sleeps” is the soundtrack to a waking dream. And “Heartbreaker” is a suave little foray into the post-Velvets night. When Leithauser intones “We’ll never leave/The world is ours” on “We Can’t Be Beat,” you pray he’s even a little bit right.

Customer Reviews

How Do Ya Know It? I Just Know It

This is the defining album for the Walkmen that everyone will remember them for and is THIER BEST. Not only is every song listenable, but are all profound and meaningful. The Walkmen's older material may seem more risky and bold, but they have finally polished their songs and begun to channel their feelings of retrospection into these songs. Amazing stuff, especially Line by Line…it does seem with this one they actually may be "tender ballad players"

Standout Tracks: Heaven, Love You Love, Line By Line, Love is Luck, Song For Leigh, and We Can't Be Beat

yea its great and all...

walkmen are getting older. i am too. i suppose i should mature along with them but all i ever return to a new walkmen record for is the hope that they have recorded another song as powerful as the rat. sadly... there is no rat here again. *sniff*.

This kick's Girl's second album.

Very similar to the last release, "Lisbon," but with a definite evolution Most obviously in the singer's voice, which lost a lot of his distinctive growl. The voice fits in with the clean sound of the production which separates it from the surf-rock jangle of the last album.

A lot of bands are trying to do the '50s-style ballads, but it's easy for those to sound flat or empty (coughGirlscough). The Walkmen and their producer (the producer of Fleet Foxes' last, which shows) make those ballads sound full and distinct to the band, not lost in the homage.

If you guys are reading this, try to get a jazz producer for your next record. I like this album a lot but you're in-danger of repeating yourselves. I could see you guys shifting into jazz fusion easily.


Formed: 2000 in New York, NY

Genre: Alternative

Years Active: '00s, '10s

The Walkmen feature three members from Jonathan Fire*Eater and two from the Recoys. When Jonathan Fire*Eater disbanded in 1998, the group took the remainder of their Dreamworks funding and established an uptown rehearsal space in New York City that doubled as a 24-track recording studio where they use a wide variety of vintage equipment. The 900-square-foot Harlem industrial space, dubbed Marcata Studios, was completed in the fall of 1999. (Bands that have recorded at their studio include labelmates...
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Heaven, The Walkmen
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