Review: The Walkmen - Heaven

What could be expected from a band on their seventh studio album? In 2004 The Walkmen released what many view as their best album; this denotation is greatly indebted to the song “The Rat”. With its rhythm section that builds a back bone from which a thunderous, blustery guitar riff that is all blown about by Hamilton Leithauser’s urgent rasp, the song came to define the band. A song that even eight years removed still closes out most Walkmen live sets, and a song that sends fans clamoring to each new record in hopes of “The Rat II”. 

However, with each release The Walkmen has become a quieter, more melodic act. The music has grown softer, as if aging gracefully along with those teenagers who were hooked with their first record in 02, Everyone Who Pretends to Like Me is Gone, or joined the band wagon in 04 (for reference I was 15 when Everyone was released). And with each album the band delves into the crates of rock history to produce a modern yet decidedly cool take on the classics. Despite the pigeon holding, The Walkmen’s  latest  album Heaven is capable of breaking the spell conjured by “The Rat”. Where Bows +  Arrows relied on bombast, angst and urgency, Heaven relies on a romantic, quiet subtlety.

Album opener “We Can’t Be Beat” is simple in construction. Leithauser’s voice is confident over a simple guitar strum and timid chime, supported by vocal harmonies provide by Fleet Foxes Robin Pecknold. The song is equal parts love song and mission statement: “If you want my eyes, take my eyes, they're always true / If you want my heart, take my heart, it's right here for you / It’s been so long, been so long, but I made it through / It’s been so long, been so long, but I made it through / It’s been so long / We'll never leave / We can't be beat”. The lines seem perfectly fit for a band that has been criminally underappreciated and an honest summation of intent.

This assertion gains greater credence in the face of “We Can’t Be Beat”s opening lines “I was the Duke of Earl / The Duke of Earl / But it couldn't last / I was the Pony Express / But I ran out of gas / Oh golden dreams / Golden dreams, all lose their glow / I don't need perfection, I love the whole / Oh give me a life, that needs correction / Nobody loves, loves perfection / Loneliness, loneliness will run you through / All the kids are laughing, I'm laughing too”. Ending with a sarcastic and characteristically nonchalant quip, bolsters the level of confidence for not only Leithauser but the band. There is a level of risk in simplicity but not one that ever becomes a concern on Heaven.

“Heartbreaker” serves as a response to “The Rat”. The song is held up by Matt Barrick’s forceful but never overpowering thump and a bit of jangly guitar that turns anthmatic and precise on the chorus. Leithauser laments that he is not the heartbreaker. A conversation that seems far removed from the shouting match of “The Rat”. The blame game is over and the narrator simply wants to assert his position of innocence. Leithauser, however, makes a deductive mistake in stating that, “It’s not the singer, it’s the song”. It is his versatile voice – at times gritty tenor and others mid tempo croon - that remains the staple and driving force of each Walkmen song. Heaven also demonstrates him at his most confident and comfortable vocally.

The band has always been one that seems aware of their strengths and plays to them. The band members are each accomplished and talented musicians, though, their work with The Walkmen has never been virtuosic. They do, however, never seem lost with in the shuffle. Each instrument is clear and discernible; the songs can be easily dissected. The end result creates a concrete platform from which their dynamic front man can explore the limits and possibilities of his voice.

The album also benefits from great sequencing. “The Witch”, which is an update on bluesy garage rock, is supported by a humming organ. The track is followed by one of the quieter moments on the album, “Southern Heart”, featuring Leithauser languishing in his voice that is informed with a deep level of sentimentality over simple guitar plucking. The song is folky in its exploration of a youthful love.

“Line By Line” follows this progression with a track that finds the guitar line and the vocals jockeying for position. At times the croon drops into the rambling guitar lines; dropping in octave only to rise triumphantly into a raspy and wistful tenor. This is followed by “Song for Leigh”, a jangly romp and loving ode to Leithauser’s daughter. A song fit for a drive with the windows down, particularly when the music swells around the chorus of, “If you follow me where I'm going / Might take some time but you'd never know / My gun still shoots and my bird still sings / These tricks are tricks I learned from a king / And I sing myself sick / I sing myself sick / I sing myself sick about you”.

“Nightingales” returns to the familiar territory of stormy guitars over a rattling tambourine. The album offers a short reprieve in the bluesy instrumental, “Jerry Jr.’s Tune” which is followed by a couple of songs that hearken back to 80s alternative music.  The guitar line from “The Love You Love” sounds pulled from the early catalogue of Elvis Costello; while the guitar work on title track “Heaven” reminds of a more up tempo Johnny Marr lick ala The Smiths.

“No One Ever Sleeps” summons exactly the opposite of what the title implies. The song is a slow romp akin to a lullaby. Album closer “Dreamboat” has an upbeat guitar line that ebbs and flows, while the drum beat remains constant.  Leithauser confesses, “Virginia, I miss you the most / Virginia, I got so lost/ Your sympathy ain’t wasted on me / I left you a million times / I left you a million times. / The irony ain’t lost on me”. The song fades out as he keeps sings “Oh no no no”. 

At the closing of the final track the album presents a quite complicated question that is at times convoluted by the work at hands. For an album entitled Heaven much is made of past mistakes, failures and short comings. The lyrics for the titles in full are:             

“Our children will always hear / Romantic tales of distant years / Our guilty age may come and go / Our crooked dreams will always glow / Stick with me, oh, you're my best friend / All of my life, you've always been / Remember, remember / All we fight for / Remember, remember / All we fight for / Don't leave me, oh, you're my best friend / All of my life, you've always been / Don't leave me now, you're my best friend / All of my life, you've always been / Remember, remember / All we fight for / Remember, remember / All we fight for”
The band has crafted an image of heaven that seem far removed from an idealistic fantasy. Heaven instead seems a place where a person is able to speak honestly with the advantage of age and maturity.

Leithauser sings on “The Love You Love”, “You don't love me, just the kissing / Don't trust the facts, trust the fiction / I'll take the fiction”.  However, the question the title implies and album contradicts is almost immediately answered. When the album finishes and the replay begins we are reminded that, “I don't need perfection, I love the whole / Oh give me a life, that needs correction”. Heaven is a celebration and appreciation of the act of living despite the consequences; there are the optimistic moments like “Song for Leigh”, but moments of darkness like “No One Ever Sleeps”.

The Walkmen have crafted an album that shows their maturity and years of experience. The album trades the angst of youth for the self awareness of age. It trades tumultuous relationships for remorse and romance, giving the listener an appreciation for the life at hand and not the life dreamt of.  The band has matured in accordance with their audience. And for all that ways that Bows + Arrows succeeded, Heaven succeeds in the opposite direction. Heaven will hopefully mark the moment when The Walkmen receive the praise and appreciation that has seemed to elude them. They have consistently released solid effort after solid effort with Heaven standing as a crowning achievement. 

4.5

The Walkmen - Heaven