THE WALKMEN - Lisbon

Fat Possum/Bella Union

Buy here

Since The Walkmen began as a departure from and perhaps a reaction to it's previous two garage influenced incarnations, Jonathan Fire*Eater and The Recoys, the New York five piece has been prolific throughout its first decade; four albums, a covers album and five EPs, one split. Frontman Hamilton Leithauser, guitarist Paul Maroon, keeper of the keys and that upright piano Walter Martin, bassist Peter Bauer and drummer Matt Barrick have been present throughout and it's this artistic constant that has produced an amazing consistency over the journey. So it continues with Lisbon, an album that more than stacks up against their past releases, and indeed, while fans from the first half of the band's life won't agree, could just be their best - time will judge that.   

Jangly, spiky guitar mixed with rounded bass and a big drum sound return on Lisbon, a signature sound based on relic filled vintage stylings that is unmistakable and based on long laid New York pop/rock traditions but simultaneously based in the deep southern sensibilities of New Orleans, spaghetti western soundtracks, down tempo ensemble mariachi and even a nod to the twice visited Portuguese capital from which it gets its title. Piled on top of that and weighing heavily and probably, in indie rock circles anyway, only rivalled by now fellow New Yorker Matt Berninger of The National for it's importance as a crucial sum of its parts is the booming, powerfully pained voice of Leithauser which again looms large all across Lisbon's eleven tracks.

The careful and disciplined chord construction that is put into the riffs and melodies is apparent on each of the guitar driven tracks and perfectly compliments the contemplative nature of the album's lyrics, the first of which is the laconic yet melodiously busy opener, 'Juveniles'. Maroon's deliberately off kilter chord progression complements the vocal arrangements to great effect, both being held together by an ever present bass hum and a floor tom driven beat. The urgency of all too brief 'Angela Surf City' kicks the album into life as the band 'rock out' spurred on by Barrick's energetic double beat and impressive drum rolls.The cinematic sounds of 'Blue As Your Blood' complete with beautifully crafted string arrangements, hypnotic guitar and cymbal splashes is an absolute winner.   

'Stranded', the brave, but as it turns out inspired choice for Lisbon's lead out single is an example of how the band have grown and learnt to experiment with their approach, (witness the third track 'Follow The Leader' for another example of a penchant for risk taking). The heartfelt and sentimental horns blare as if channeling the beginning of a New Orleans funeral march or a Mexican equivalent as Leithauser laments about not being able to get his shit together; 'laid my plans so carelessly...drunk and lonely to the end'.

As per usual, given The Walkmen's prediliction for penning odes about disappointment and regret, 'Victory' as you'd expect is a song about just the opposite, losing. But just as ever, they always seem to be able to dress up lyrical sorrow in musical splendour. Indeed, even more so the musical vibe that comes off fast paced cracker 'Woe Is Me' belies it's maudlin title and lyrical content. Maroon even gives a nod to the no-wave tropicalia trend doing the rounds at present.

'Torch Song' owes a great deal to crooners that drove the popular ballads of the 50's while the slow waltz of 'While I Shovel The Snow', with its minimal instrumentation allows fully for Leithauser's commanding vocals to shine and allows us to fully comprehend and appreciate his contentment with his own inertia;
'half of my life I've been watching, half of my life I've been waking up, birds in the sky could warn me, there's no life like the snow life, so for now I'll take my time, for now I can't be bothered....' The title track seemingly transports you to a rooftop scene on a moonlit night gazing across its namesakes Tagus River as meticulously plucked guitar swoons and serenades.

Unlike the lyrical content of the track in question, but certainly in keeping with its title, Lisbon heralds another victory for The Walkmen. While its certainly no revolution it is certainly an evolution. Their preference for incrementalism in terms of musical development maintains that ever present consistency aforementioned in this review. Rather than rocking foundations, there is innovation, but also reinforcement and that is how Lisbon should be approached. But one thing is certain, their ability to be inclusive of time and genre without spreading themselves thin is indicative of an outstanding band at the top of their game. Lisbon, borrowing and transforming as it does, is quite simply a modern day gem.

James Stocker - September 18, 2010.

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