Kings of Leon: Mechanical Bull
Details
Genre: RockPros:
Caleb's back and stronger than ever; the band's sound is also back. "Temple," "Supersoaker" and "Wait for Me" are tailor-made for radioCons:
Some tracks are obvious to fillers, play with the very familiar.KOL’s comeback album revives more of the same and brings on something new
KOL’s “comeback” album revives more of the same and brings on something new
Within the Kings of Leon saga, the narrative is usually a tug of war of salvation and rebellion. Mechanical Bull, KOL’s first album since Caleb Followill’s onstage meltdown and band’s hiatus, is all about living on the edge. But those types of songs are the more poignant and interesting on the Followill brothers. When they slyly court with chatter about suicide in the name of love on “Temple,” they milk the sting of controversy out of the conversation using churning guitar riffs and classic rock magic. Plus, if the Police and Bruno Mars can do it and get away from the danger of it all, then the Kings will find a way. “Supersoaker,” the opening track and the album’s charming lead single, puts Caleb on bad boy alert when he rhymes about being the “supersoaker/red white and blew ‘ em all away” as he deals with “sentimental girls at times.” Drummer Nathan Followill borrows a familiar Funk Brothers/Motown tempo, while the lead vocals of Caleb Followill explore a wicked balance of Wilson Pickett and Joe Cocker. When the song takes off with its chorus, Caleb’s emotions rip through the chorus like a sergeant on the verge of war. Those magical moments are scattered throughout Mechanical Bull; so are more hints of rock star glory. The Kid Rock-esque “Rock City” may be the perfect destination of the latter: “I was running through the desert, I was looking for drugs/And I was searching for a woman who was willing to love.” But much of Mechanical Bull traces elements of their musical past and dances around with the melodic comforts of “Sex on Fire” or the dreamy patterns of Come Around Sundown (“Work on Me,” “Wait for Me”). But when they kick into a spell of barroom blues with “Family Tree,” they prove they can be much more than the typical arena-rock cheerleaders. For those expecting to hear a fucked-up mess on their “comeback” album after last year’s chaos, those ideas have clearly been dashed. This record proves to be just as good.
