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The Walkmen have been around for over a decade now – so youth isn’t quite on their side these days. But so lauded are they that the quintet could release a cloud of smoke and it would receive gushing reviews from a cluster of critics. But the New Yorkers’ seventh studio effort is a glossy record that will speak to more important people than writers with established preconceptions – and it may well speak to them quite profoundly.
There are some wonderful moments for sure: The Love You Love, to pick one immediate highlight, is a doozie. As vocalist Hamilton Leithauser wails, “Baby it's the love, the love – not me,” the hairs on the back of your neck stand up. It's a thrilling three minutes in the mould of The Walkmen circa 2002, reminding the listener of those dog days when the band, and all the rest of us too, were a lot younger.
That classic Walkmen aesthetic is also tenable on the album's seductive title track. Here, the production skills of Phil Ek – who helped to make Built to Spill and Modest Mouse into something much greater than the sum of their parts – are evident, as tightly wound guitars blend with a taut, beauteous rhythm section.
However, as The Walkmen's youthful braggadocio fades, certain pipe-and-slippers moments mar proceedings. The vocals-led stop-start antics of No One Ever Sleeps, Dreamboat and Southern Heart are self-indulgent, dull and messy. All is not lost, though: the compelling 1960s doo-wop jangles of Heartbreaker and the sultry, impassioned plea of Nightingales put things back on the straight and narrow.
There has to come a point in life where writing a film script or a novel begins to better express your feelings about the world than writing a song. But The Walkmen haven’t quite reached that point yet, as Heaven is a record with the power to grab your heart, like an ex-lover you just can't shake off – no matter how many years you've been without them.
--Martin Longley
Find more music at the BBC This link will take you off Amazon in a new window
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