Our rating: ****
What one name not everything can cause when he is mentioned often enough in the same context. Namely, that the new, third album of the Cold War put off kids under the aegis of producer Jaquire King was born, can really only frighten those who are with the accompanying horror appetizers (Kings Of Leon "Come Around Sundown", Norah Jones, Billy Talent) leaves. Because it's obviously not as well fit into the picture remains then but would like to mention, that this man is responsible for just the production of almost all Tom Waits albums after the turn of the century, as is the fabulous "Good News ..." Modest Mouse and the highly acclaimed "Do It!" the Liverpool band, The Clinic.
On closer listening, the modification is not all that serious, because the essential stylistic features of the quartet from Los Angeles have survived even under King: the campy, slightly angezickte vocals Nathan Willetts, the powerful and unwieldy category of what is probably one may call Soul Rock, the creativity and the complexity of their songs, the band is still tempted to overstretch oneself every now and then sometimes powerful. The humus from which they draw now s just no longer the creaky Indie Rock as yet with the predecessors' Robbers & Cowards "and" Loyalty to Loyalty ", but rather the smooth and more conventional rock of the 90s - their Springsteen-lesson at least they seem to have learned.
That may gutfinden it or not, firm, is that the Cold War Kids, despite this direction correction miles away from it to be flat or becoming intoxicated as a Chris Martin's own striking pathos in order afterwards to drown in sentiment - it still sounds after the passion, the scratches from the soul as Willett. "Mine Is Yours" as the title song, the playful "Out of Wilderness", a sad and beautiful "Skip The Charades" and the supported "Broken Open", all beautiful pieces with daily horizon and a great deal of passion. And if something goes wrong such as "Sensitive Kid," which feels on the Radiohead-terrain obviously a little uncomfortable, then reimbursed immediately after touching the "Bulldozer" and makes the guys if this fallibility again a sympathetic piece.
What one name not everything can cause when he is mentioned often enough in the same context. Namely, that the new, third album of the Cold War put off kids under the aegis of producer Jaquire King was born, can really only frighten those who are with the accompanying horror appetizers (Kings Of Leon "Come Around Sundown", Norah Jones, Billy Talent) leaves. Because it's obviously not as well fit into the picture remains then but would like to mention, that this man is responsible for just the production of almost all Tom Waits albums after the turn of the century, as is the fabulous "Good News ..." Modest Mouse and the highly acclaimed "Do It!" the Liverpool band, The Clinic.
On closer listening, the modification is not all that serious, because the essential stylistic features of the quartet from Los Angeles have survived even under King: the campy, slightly angezickte vocals Nathan Willetts, the powerful and unwieldy category of what is probably one may call Soul Rock, the creativity and the complexity of their songs, the band is still tempted to overstretch oneself every now and then sometimes powerful. The humus from which they draw now s just no longer the creaky Indie Rock as yet with the predecessors' Robbers & Cowards "and" Loyalty to Loyalty ", but rather the smooth and more conventional rock of the 90s - their Springsteen-lesson at least they seem to have learned.
That may gutfinden it or not, firm, is that the Cold War Kids, despite this direction correction miles away from it to be flat or becoming intoxicated as a Chris Martin's own striking pathos in order afterwards to drown in sentiment - it still sounds after the passion, the scratches from the soul as Willett. "Mine Is Yours" as the title song, the playful "Out of Wilderness", a sad and beautiful "Skip The Charades" and the supported "Broken Open", all beautiful pieces with daily horizon and a great deal of passion. And if something goes wrong such as "Sensitive Kid," which feels on the Radiohead-terrain obviously a little uncomfortable, then reimbursed immediately after touching the "Bulldozer" and makes the guys if this fallibility again a sympathetic piece.
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