вЂWALLSвЂ™ is perhaps the best ballad that Kings of Leon have written in quite some time. More depth could have made it much more interesting.ДЄnd вЂњWhen the WALLS come downвЂќ, we are left with the final song, the title track. вЂReverendвЂ™ explodes into a chorus guitar riff reminiscent of the Chili Peppers, uncharacteristic of KOL, but the exhaustive vocals in the choruses damper the track as it continues on. CalebвЂ™s screeching voice drips with emotion in the bridge of Over but the routine choruses and verses make the track generally unattractive. вЂOverвЂ™ and вЂReverendвЂ™ might appear shtick, but contain some solid moments. While feeling somewhat familiar, 'Eyes on You' isn't completely new, but is filled with vintage guitar riffs and choppy tones and the cries of Caleb's story-filled verses a song that could easily be featured as a B-side on one of their older EPs or singles.

вЂMuchachoвЂ™ delves into odd elevator music with whistling from the wild west and serves as the most unique track on вЂWALLSвЂ™. The driving choruses with the guitar work of a Tom Petty track is something we havenвЂ™t heard from the band in quite some time. The open verses complete with piano swells make вЂFind MeвЂ™ a highlight on the album. The band that once said no to Apple, they are really driving the big one-line hooks home.Д«ut what seemed to be unfathomable on the past couple releases, Kings of Leon go for something different on tracks like вЂFind MeвЂ™, вЂMuchachoвЂ™, and 'Eyes on You'. We get sprinkles of vintage KOL like on вЂAround the WorldвЂ™ with its beachy staccato guitar parts, but the chorus remains repetitive and rather dull. But the big choruses, which remain fluid throughout this record, recapture their commercial appeal.Д«ut what is different about вЂWALLSвЂ™ is it seems to come naturally, theyвЂ™re not forcefully dialling back songs worried of what fans will think. Caleb Followill finally takes the polish off his vocals and starts singing all вЂњweirdвЂќ again throughout the verses, which is what made him interesting as a vocalist in the first place. It is the вЂSupersoakerвЂ™ of this record, but it is a little more playful. The first single, вЂWaste a MomentвЂ™, is bright and energized. Hiring Dravs was probably one of the bandвЂ™s smarter choices as of recently, because letвЂ™s face it, having KOL trying anything new would be considered wildly experimental when we think about the thinness and emptiness of the bandвЂ™s overall sound on the previous two records.

Desperate to capture the attention of a short attention spanned millennial, the вЂKings called upon producer, Markus Dravs (Arcade Fire, Coldplay, Mumford & Sons) in search of something fresh. And as you can see, the talks about just being a rock n' roll band (again) seemed contrived. The three chorded, вЂDonвЂ™t MatterвЂ™, with its buzzy guitars and polished vocals вЂ“ also not a return to your roots, but you get the point here. IвЂ™m sorry, but a slowed 5-minute track containing two parts in вЂBeautiful WarвЂ™, is not a return to form. At the time, KOL claimed to have gone back to their roots, which is a dangerous claim or phrase to use. But songs like: вЂThe FaceвЂ™, вЂBeach SideвЂ™, вЂPony UpвЂ™, and вЂNo MoneyвЂ™, sounded like stagnant arena rock regurgitation.Дў013вЂ™s вЂMechanical BullвЂ™ suffered the same issues as its predecessor, it had a few noteworthy tunes such as вЂTempleвЂ™ or вЂSupersoakerвЂ™, but it had a lot of tracks that were just uninteresting and painfully drawn out. But the result gave us still solid pop-rock singles such as вЂRadioactiveвЂ™ and вЂPyroвЂ™ on 2010вЂ™s вЂCome Around SundownвЂ™. They even denounced 'Sex on Fire' and 'Use Somebody' as they quickly grew sick of the North American fame they had reached. It was after вЂOnly by the NightвЂ™ that KOL decided to self-consciously go against the grain and attempt to write mostly non-pop tracks. A band that was once well accepted primarily in the UK and rejected in the US, they didnвЂ™t expect to hit ultra fame and stardom after drunkenly writing the hit-churning machine, вЂOnly by the NightвЂ™ (featuring вЂUse SomebodyвЂ™ and вЂSex on FireвЂ™). The problem for Kings of Leon hasnвЂ™t been their loss of confidence, but more so, the confusion surrounding their identity. Review Summary: The WALLS haven't completely come down on their sound, but a more rejuvenated KOL surpasses recent efforts.ДЄ band that's been on an endless search for revival since вЂOnly by the NightвЂ™, Kings of Leon come as close as possible on their latest effort, вЂWALLSвЂ™ (or 'We Are Like Love SongsвЂќ), while still embracing their knack for arena rock anthems.

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