Once again, The Lumineers have released a fantastic album. Last semester, I reviewed their debut live album, “Live From Wrigley Field,” and this semester I have the pleasure of reviewing “Automatic,” their fifth studio album, which was released on Feb. 14.
The Lumineers, an alternative folk band from Denver, Colorado, have been popular since the release of their self-titled album in April 2012. Coming off of their successful live album last July, they have followed it up with, in my humble opinion, their best project since the band’s conception.
“Automatic” isn’t immediately recognizable as being an album from The Lumineers. Known for their alternative folk hits like “Ho Hey,” “Stubborn Love” and “Cleopatra,” it can be difficult to imagine that “Plasticine” is, in fact, a track by The Lumineers, and not by some other band. Parts of this album make me feel, I imagine, how people felt when Bob Dylan went electric. It is a sort of cautious nervousness, which eventually gave way to awed appreciation.
That isn’t necessarily a bad thing. The more you listen to this album, the more you realize that this is exactly what The Lumineers are supposed to sound like. Where their previous studio albums were filled with a few incredible hits surrounded by enjoyable mediocrity, this album is a coherent, structured panorama of just about every sound The Lumineers have ever dabbled in.
The opening track, “Same Old Song,” for example, is another of the big, powerful concert hits that have allowed The Lumineers to play venues like Wrigley Field and Fenway Park. It’s not as easily catchy as “Ho Hey,” and it’s not as beautiful as “Dead Sea,” but it has the sort of raw intensity that is almost impossible to define but has been mastered by the band.
The titular track, on the other hand, is the very opposite. It is slow and haunting, reminiscent of Wesley Schultz’s solo work, such as his “Vignettes,” which is utterly heartbreaking. Indeed, much of this album is fundamentally sad, though at times this is hidden behind the cheerful music that The Lumineers are known for. It is no mistake, however, that their best work has always been the saddest tracks, and this album is the perfect example of that.
Somewhere in between these two extremes is “You’re All I Got,” which is a classic folky tune, with basic instrumentation and a simple rhythm, carried by Wesley Schultz’s heartbreaking vocals and a good piano. Its simplicity is betrayed by the genius of its lyrics, which weave through Schultz’s headspace masterfully. On a technical level, it is probably among The Lumineers’ best songs.
The closing track of the album, “So Long,” can only be described as cool. It has more of a rock vibe to it than the rest of the album, which is a direction The Lumineers have only gone a few times but seem to have mastered here.
All of the tracks on this album are worth discussing at some length, but of those that remain, “Ativan” is perhaps the most deserving. Dominated by a simple guitar progression, it is one of those peaceful songs that The Lumineers occasionally release yet seem to go unappreciated for the most part. While it probably won’t be as popular as the songs I have already mentioned, I feel that it will end up being one of my favorites from now on.
I don’t know if this will be a hit. None of these songs are in my top five tracks by The Lumineers, but every single one of them is solid, and the album is produced so well that it seems almost impossible to find fault with it. This is one of those albums that comes out of nowhere and grows on you so silently that you eventually realize it has become your favorite. It is tragic, fun and simply delightful. If “Vignettes” was Schultz pouring his heart out for us, “Automatic” is him trying to explain what remains behind in his chest.
If you have half an hour, give The Lumineers’ new album a listen. You won’t be disappointed.
