C+
69%
Charlemagne
Deadlines
Independent
On their debut EP, Hamilton-based Charlemagne seem to have taken the Constantines’ song title “Steal
This Sound” as a personal mission. Their prime directive is obvious from opening track “Oh, the Boss is Coming,” which rides a mellowed-out, bluesier version of the Constantines’ groove from “Nighttime Anytime (It’s Alright)” and lifts from The Lovin’ Spoonful for good measure.
The Cons deserve part of the credit for much of Deadlines’ best material, but Charlemagne are an invigorating listen even when they’re shamelessly plundering other artists’ material or cycling through middle-of-the-road rock clichés. The EP is a bizarre combination of fists-raised rock and generic cheese, the latter first rearing its creamy head on (ironically enough) “Tragic Flaw.”
Charlemagne’s dependable sense of melody can sound painfully unimaginative with the wrong
instrumentation, as it does on “Abigail,” a loping suburban retread of “Jack and Diane” set in a mall food court. Nearly as much of a head-scratcher is “He’s No Champagne Socialist,” a Southern rock song about a New York Jew. But elsewhere, “Deadlines” is an interesting if uneven marriage of threatening guitar drone and bar rock, and the brawling a capaella group vocals and heavy drum stomp that introduce the EP’s highlight, “The Blueprint,” are an arresting example of what Charlemagne could be capable of full-time.
For now, Charlemagne are something of a guilty pleasure, but Deadlines is an entertaining and assured opening volley, capturing a young band at the crossroads between evolving into a terribly good band or just a compellingly terrible one.
—Meghan Harrison
B+
75%
The Shins
Wincing the Night Away
Sub Pop
The Shins’ third album, Wincing the Night Away, is a hypnotic, trance-inducing experience. The band’s maturation since Chutes Too Narrow is evident: their trademark light, airy instrumentals still float behind haunting lyrics, but instead of relying so heavily on the talent of lead singer James Mercer, keyboard and guitar parts are also crucial in carrying the compositions.
Mercer seems to be in a despondent mood this time around. The album’s final song, “A Comet Appears,” sounds buoyant enough, but Mercer’s soothing, feminine voice croons a request to “Carve my aging face off, / Fetch us a knife, / Start with my eyes.” Although many of the songs sound similar, they each have their own individual flourish, from echoing voices (“Sleeping Lessons”), to bubbly ambience (“Red Rabbit”). The album loses some momentum on the heavier “Black Wave,” which trudges on lethargically, sounding out of place on an otherwise meticulously planned album.
Luckily, it’s followed by “Spilt Needles,” which builds a compelling yet simple song from the strong beat of its introduction. Wincing the Night Away is a solid, well-executed album, but it’s not particularly striking or original, however trendy The Shins’ sound might be.
—Jess Hall
All final editorial decisions are made by the Editor(s) in Chief and/or the Managing Editor. Authors should not be ed, targeted, or harassed under any circumstances. If you have any grievances with this article, please direct your comments to [email protected].