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5.0 out of 5 starsA More Intense Sophomore Effort
ByR. Gerardon April 8, 2016
The Lumineers’ sophomore recording has arrived after years of waiting. Following their meteoric rise to popularity following the sensational self-titled debut album, one would imagine a second effort that reflects the pressure of a rising artist to replicate the formula of the record that put their name on the map.
Signed to Dualtone Records, however, Cleopatra instead reflects an effort of a group of musicians who have taken their time to craft something real. Indeed, some songs like “Sleep on the Floor” and “Gun Song” have been in The Lumineers’ repertoire for years — they’ve been played live for almost as long as the band has existed, and are presented here in a more developed form. “Gale Song” was recorded first a few years ago for the Hunger Games film franchise, and is re-recorded with more intense percussion by Jeremiah Fraites.
(Of note, however, an unrecorded favorite of many fans — a duet between Wesley Schultz and Neyla Pekarek — has been omitted despite high hopes that it would appear on this recording. A shame, as Neyla’s voice is quite brilliant and should be showcased, and fits well with Mr. Schultz’s. One might hope in future recordings that she’s given time to use her vocals in addition to her talents on the cello.)
The sound is undeniably that of The Lumineers. It is still music that is minimalist in its melodies and accessible in instrumentation, yet it packs a punch. There is no foot-stomping, communal anthem like “Ho Hey” here, or catchy high-spirited storytelling like “Submarines”. Rather, Cleopatra is decidedly more somber throughout. While the debut was like a picture album, Cleopatra is more of a linear chapter book. Schultz’s vocals are given more reverberation, which is a production choice many listeners might prefer to dispense with (thought it does benefit certain tracks). Neither, however, does the record reach the emotional depth of “Stubborn Love”, probably one of their greatest recorded songs to-date. The songs on average are rather brief, and I could wish for these glimpses of emotion to fully develop the way Wes, Neyla, and Jeremiah allowed “Stubborn Love”, “Dead Sea”, or “Charlie Boy” to do so masterfully.
That’s not to say the songs on here fall short. Rather, this album is more cohesive than the first, with a sustained pensive atmosphere. “In the Light”, for example, starts out very simply, and instruments are layered, allowing the song to develop organically. The new arrangement of “Gale Song” is probably one of the record’s biggest strengths. It is definitely the most melodic of the bunch, and one might wish for a lengthier track that develops similarly to the “Stubborn Love” formula.
“Long Way from Home” shows that Schultz can really write a melody. It is a simple arrangement for voice an guitar, a song about human frailty and dying, presented in a triple-meter reminiscent of a marche funebre/passacaile in the classical music tradition.
That track flows naturally into the following “My Eyes” with its waltz-like meter underscoring an opening melody reminiscent of Radiohead’s “Creep”. This is one track that begins to show a little more harmonic complexity. One might notice that this album features more of multi-instrumentalist bandmate Stelth Ulvang, and his contributions on piano offer a fuller sound, but with an improvisational quality. Any fan who has seen them live will appreciate Ulvang’s impressive skills at improvisation, and juxtaposed with the “less is more” approach to melody, his prominence in Cleopatra should become a welcome development in The Lumineers signature sound.
Cleopatra does not have the communal atmosphere of the first record, a quality that made their debut resonate with so many listeners. I would say that the debut album is the stronger of the two — more inventive and packed with melodies that are more likely to stick in the mind. The debut notwithstanding, this album stands well on its own. In the genre, Cleopatra ranks up there this year on my list of favorites along with Parker Milksop’s “The Very Last Day”.