AloneInTheDark
10/14/08, 06:33 AM
Dear and the Headlights - Drunk Like Bible Times
Record Label: Equal Vision Records
Release Date: September 30, 2008
Small Steps, Heavy Hooves was an album that I could never put my finger on. I loved it. I loved every chord, every word. It all struck these strings inside my head, and it found its place in my heart as one of my favorite albums in the past few years. Naturally, I was more than excited for Dear and the Headlights sophomore release, Drunk Like Bible Times. I made sure my first listen was adequate; I lit some candles, turned down the lights, and made myself a nice cup of tea. The forty minutes that followed were full of emotions from excitement to disappointment, but regardless, I remain content with Dear and the Headlights.
Bible Times takes what the band got right on their first album and rehashes it (for lack of a better term) a dozen times in different settings. On the surface, it sounds perfect. Another set of catchy Midwestern rock songs to live by for another year, right? I wish. Lacking on Bible Times are the somber memoirs of Ian Metzger’s imperfect love life that were the glue to Small Steps, Heavy Hooves. Instead, we’ve got plenty of quirky Midwestern pop songs to kick some dirt to while square dancing. But where’s the last dance material? Where are the songs for the broken-hearted? Did two years on the road not emotionally scar these guys? I guess not. There’s no singing along about paper bags and paper cups this time; it’s all fun and games. At first it hurt, but as the album trailed on, it’s obvious what these guys were up to.
Confidence is key when it comes to the band's sophomore release; every song is strong with its music and stronger with its vocals. Metzger is finally breaking out of his shell, kicking all kinds of ass with his range and his melody. He never crawls in the corner with soft vocals. You’ll notice that every track is built around his vocals. This is his band, and he’s letting you know. Not only is it loud and clear, but he gets creative with the way he swaggers across the tracks. There’s more confidence, covering up the kinds of insecurities that were present with Small Steps, Heavy Hooves.
The instrumentals on this album are far more superior as well. They’re bouncy, they’re dynamic, and they are never downplayed. The guitars hit harder, the drums bang louder, and the bass pumps more fluently than on the last release. While this is all expected, it’s part of the album’s faults. It lacks the charm provided by the cute inconsistencies that were present on Small Steps, Heavy Hooves. That remains my biggest issue, and while it never disappoints enough to keep me from listening, it’s still a disappointment.
So is this a solid release? Well it’s no sophomore slump, per se, but it’s not nearly as solid as the bands debut. However, it will keep me tied over until Ian suffers another heart break I suppose.
The Forecast; Bright Eyes; Jimmy Eat World; Steel Train; The Format; Matt Pond PA
myspace.com/dearandtheheadlights (http://www.myspace.com/dearandtheheadlights)
Record Label: Equal Vision Records
Release Date: September 30, 2008
Small Steps, Heavy Hooves was an album that I could never put my finger on. I loved it. I loved every chord, every word. It all struck these strings inside my head, and it found its place in my heart as one of my favorite albums in the past few years. Naturally, I was more than excited for Dear and the Headlights sophomore release, Drunk Like Bible Times. I made sure my first listen was adequate; I lit some candles, turned down the lights, and made myself a nice cup of tea. The forty minutes that followed were full of emotions from excitement to disappointment, but regardless, I remain content with Dear and the Headlights.
Bible Times takes what the band got right on their first album and rehashes it (for lack of a better term) a dozen times in different settings. On the surface, it sounds perfect. Another set of catchy Midwestern rock songs to live by for another year, right? I wish. Lacking on Bible Times are the somber memoirs of Ian Metzger’s imperfect love life that were the glue to Small Steps, Heavy Hooves. Instead, we’ve got plenty of quirky Midwestern pop songs to kick some dirt to while square dancing. But where’s the last dance material? Where are the songs for the broken-hearted? Did two years on the road not emotionally scar these guys? I guess not. There’s no singing along about paper bags and paper cups this time; it’s all fun and games. At first it hurt, but as the album trailed on, it’s obvious what these guys were up to.
Confidence is key when it comes to the band's sophomore release; every song is strong with its music and stronger with its vocals. Metzger is finally breaking out of his shell, kicking all kinds of ass with his range and his melody. He never crawls in the corner with soft vocals. You’ll notice that every track is built around his vocals. This is his band, and he’s letting you know. Not only is it loud and clear, but he gets creative with the way he swaggers across the tracks. There’s more confidence, covering up the kinds of insecurities that were present with Small Steps, Heavy Hooves.
The instrumentals on this album are far more superior as well. They’re bouncy, they’re dynamic, and they are never downplayed. The guitars hit harder, the drums bang louder, and the bass pumps more fluently than on the last release. While this is all expected, it’s part of the album’s faults. It lacks the charm provided by the cute inconsistencies that were present on Small Steps, Heavy Hooves. That remains my biggest issue, and while it never disappoints enough to keep me from listening, it’s still a disappointment.
So is this a solid release? Well it’s no sophomore slump, per se, but it’s not nearly as solid as the bands debut. However, it will keep me tied over until Ian suffers another heart break I suppose.
The Forecast; Bright Eyes; Jimmy Eat World; Steel Train; The Format; Matt Pond PA
myspace.com/dearandtheheadlights (http://www.myspace.com/dearandtheheadlights)