US indie folk duo The Lumineers are making a return, exploring new sonic landscapes with their highly-anticipated fifth album, ‘Automatic’.
The well-known adage ‘The only constant is change’ certainly applies here, as Wesley Schultz and Jeremiah Fraites find themselves in a completely different space since their initial days on Craigslist.
If you’re looking for tunes like ‘Ho Hey’ or ‘Ophelia’, you may need to reconsider. The band has mentioned that “people who think they have our number, they’ll be surprised” about their new material.
With a raw, confessional, and intimate vibe, the band shifts between profound vulnerability and sharp humor, contemplating the significance of connection and love. They also delve into the current state of the world, probing the ‘blurry line’ that separates reality from illusion. Furthermore, the duo examines “the various methods we use to numb ourselves while facing both boredom and overstimulation…”
The album opens with the exhilarating track ‘Same Old Song’, which is both relatable and introspective. Wesley delivers poignant lines like “I’m laying on bathroom tile / spilling all my guts below the throne…” The song is powerful and soaring, echoing the narrator's struggles; while it expresses frustration and pain, it remains anthemic.
Though elements of their signature Americana folk-rock sound persist throughout, with familiar strummed guitars and heartfelt vocals that are as compelling as ever, especially in the acoustic-driven ‘You’re All I Got’. This track showcases the band’s folk-infused storytelling at its finest, yearning for the “light (to) come down on me” in reflection of a lost love. It reveals substantial emotional depth, featuring moving lines like “Living for the love of yesterday / You’re all I got, you’re all that I got And I can’t give it up…”
Despite its title, ‘Asshole’ is a slow-paced groove that still delivers an impactful punch. Schultz's raw and self-deprecating vocals discuss perceptions of him, admitting that during their first meeting, he came off as an “asshole”, adding, “Probably correct / But I still feel your shadow…”
Moving beyond first impressions, The Lumineers capture intimacy and intensity in ‘Keys On The Table’, complemented by the stunning piano-led instrumental interlude ‘Strings’. Despite lacking Wesley’s distinct and captivating voice, the piece remains equally moving and emotive.
The band excels with ‘Automatic’, presenting a bold and multilayered collection of songs that demonstrates their ability to effortlessly transition from simple, stripped-back reflections to lively anthems, all while conveying emotion and vulnerability.
Rich in vivid imagery and heartfelt, confessional lyrics, ‘Automatic’ is charged with emotion, marked by introspection and intelligent songwriting. While it touches on themes such as loss and blurred reality, it retains the poetic beauty characteristic of The Lumineers.
7/10
Words: Emma Harrison // @emmahwriter
For a duration of two months, the masterminds of Art d'Ecco leased an apartment in New York, wandering the city's streets while immersing themselves in the sounds of Henry Mancini and Ennio.
A delightful second performance in which the band unmistakably embraces new sonic identities.
Alessia Cara is back with her fourth studio album, ‘Love & Hyperbole,’ which candidly delves into various facets of falling in love, including lustful desires.
Earlier this year, when I was visiting my parents, I thought I would check out their loft to see what was stored there. It had been nearly ten years since I last looked inside.
Dua Lipa is set to launch a vinyl edition to celebrate the fifth anniversary of 'Future Nostalgia'. The album served as a soundtrack for many during lockdown, with its later
A few days before his shows in New York City, Jack White posted a statement on Instagram, which would have been much more unexpected in the past.
The Lumineers, an indie folk duo from the US, are returning and exploring fresh musical landscapes with their eagerly awaited fifth album, ‘Automatic’. The