Snow Patrol - A Hundred Million Suns
Record Label: Geffen
Release Date: October 28, 2008
Four albums later, Snow Patrol hardly sound anything at all like the band that recorded their excellent eclectic debut, Songs for Polar Bears. That record found them exploring Hum-inspired, tuned-down-guitar art-rock, grungy Mudhoney and Bleach-era Nirvana style rock, gauzy Breeders-esque shoegaze, and even hip-hop (though whether or not their foray into hip-hop was advisable is definitely questionable). The considerably more conservative When It's All Over We Still Have to Clear Up hinted at the direction that Snow Patrol would take and led to their signing to a major label.
The results haven't been all bad, though. First Straw was a solid record and produced some memorable singles, like "Chocolate," with its shimmering guitars and "Run," with its capturing melody and huge arena-filling chorus. Likewise, Eyes Open introduced us to the pop gem "Chasing Cars" and one of my personal favorite sing-alongs, "Hands Open." Yet sometime between then and now, Snow Patrol seem to have almost completely lost their way.
A Hundred Millions Suns marks a huge step in the evolution of the band's music toward schlocky dentist office balladry. The album opens with two bland, lifeless sleepers in "If There's a Rocket, Tie Me to It" and "Crack the Shutters," that seem to try to be anthemic, but they're completely devoid of any kind of hook. Plus, there's no passion to be found, merely rote sentimentality. Even the first single, "Take Back the City," is mostly monotone and robotic. The first remotely interesting moment comes on the opening of "Lifeboats," with its acoustic guitar, spaced-out background effects and swaying melody. Frustratingly, the song doesn't actually go anywhere. Still, it's better than what follows. "The Golden Floor" is yet another snoozer that features one the most bizarre uses of handclaps I can remember.
Finally, on "Please Just Take These Photos From My Hands," you start to get the feeling that Snow Patrol are going to bust out. The guitars and drums build and, just when you're expecting to be wowed, the song reaches the chorus and it's unimaginably stale and flat. "Set Down Your Glass" is yet another song that really didn't need to be here, since absolutely nothing happens. The only reason to continue listening at this point is that you know it's Snow Patrol, so there must be something on this album worth listening to again. You just haven't gotten to it yet. There has to be something redeeming here.
Thankfully, there is. "The Planets Bend Between Us" is lighter-than-air, but for the first time on the album, vocalist Gary Lightbody doesn't sound bored with his own song and gives a pretty compelling performance. "Engines" follows with a guitar line that reminds me of a sped-up version of Radiohead's "House of Cards." The background vocals and jazzy production make this track a definite diamond in the rough. "Disaster Button," while not quite so exciting, sounds like a potential single.
Snow Patrol save the biggest surprise for last in the three-part sixteen-minute closer, "The Lightning Strike." While it's no "Goodbye Sky Harbor," it's surprisingly effective and it's perhaps the only occasion where the album lives up to its epic title. In the end, though, the album as a whole fails to satisfy. The majority of these tracks seem to be building toward something, but never really reach a climax, leaving you with the aural equivalent of blue balls. I guess you could call this record a sonic cock-tease. After a few listens, when you stop expecting the big payoffs, you begin to gain at least some appreciation for the album's subtleties. In retrospect, though, the reward probably isn't worth the effort it requires.
"but never really reach a climax, leaving you with the aural equivalent of blue balls. I guess you could call this record a sonic cock-tease."
Haha two points. And with that, crap. I had high hopes for this. But I like Take Back the City and If There's a Rocket so far, so maybe it'll be okay. Also, apparently I'm not the only one who noticed the Clarity-esque-ness of the closer.
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