Rilo Kiley serves as a definitive emblem of early 2000s indie rock, a band that launched into the scene without looking back until their turbulent breakup in 2013. After a long hiatus of twelve years, they have made their comeback, only to encounter an indie rock landscape they helped shape, which is strikingly different from the one they originally entered.
On May 10th, Rilo Kiley graced the stage at the Just Like Heaven festival in Pasadena, CA, where they were greeted by a raucous crowd joyfully singing along to the opening song, "The Execution of All Things." This reunion was unexpected, to say the least. Jenny Lewis, Blake Sennett, Pierre de Reeder, and Jason Boesel had been pursuing their individual musical and personal journeys for a decade. Although there had been partial reunions, the band had largely remained dormant. Their announcement in early 2025 was a shock to many, reeling from the aftermath of an acrimonious split. Rilo Kiley first entered a hiatus in 2008, struggled through a breakdown over the ensuing years, and officially disbanded in 2013. Their return in 2025 has sparked renewed interest and reassessment of their impressive discography, aided by the release of a greatest hits compilation and the reissue of their pivotal 2002 album, The Execution of All Things.
For context: By 2002, the barriers separating indie rock from the expansive realm of the mainstream had been steadily eroding. Bands like The Strokes and The White Stripes had already begun to dominate indie charts and magazine covers, while TV and film placements were introducing mainstream audiences to indie music. Major labels were eager to sign groundbreaking acts in hubs like New York City, driven by the desire to capture the next big thing.
At the same time, indie rock remained a sanctum for hipsters and the “cool” set, who staunchly resisted the allure of contemporary pop and mainstream rock. Its authenticity appealed to those who believed that it truly vocalized the sentiments of the alienated. Underground music was evolving, yet certain aspects remained unchanged. Indie musicians were still traversing the country like nomads, accepting any offer for basement accommodations and transforming living rooms into temporary performance spaces to quell their relentless desire to play live. This was the reality for Rilo Kiley in 2002, a four-year-old band striving to perform in any available venue.
In this environment, the band released their second album, The Execution of All Things, which represented a significant sonic progression for them. The album solidified their unique sound, marked their first time utilizing a recording studio, and featured several notable musicians from the underground Omaha scene. These elements combined to create what many fans regard as Rilo Kiley’s finest album, a twelve-track tour de force brimming with intriguing lyrics and varied musicality. Its intricate, heartfelt emotions permeated the music scene in the following years, becoming a cherished addition to the collections of countless indie music enthusiasts who recognized it as one of the first albums that truly resonated with their experiences.
The story of the album began shortly after the release of Rilo Kiley’s first album, Take-Offs and Landings, which garnered positive reviews and impressive sales for an indie release in 2001. This success fueled the band’s ambition to evolve their sound for their next album, coinciding with their encounter with Tim Kasher from The Good Life. After discussions, the band decided to head to Omaha to, as Lewis put it, “work and exploit the booming music scene.” Now signed to Saddle Creek Records, the band recorded the album in just a few weeks in March 2002, bolstered by extensive pre-production. Thus, on October 1st, the indie rock scene welcomed The Execution of All Things, unveiling its vast and deeply human perspectives.
The advancement in quality from Take-Offs and their initial EP is striking, with the album filled with lush soundscapes and intricate guitar work. Its melancholic focus is immediately evident in the opening track, "The Good That Won’t Come Out," where Lewis prompts the listener to reflect on modernity, friendships strained by existential battles, and the looming specter of climate change, complemented by lo-fi drum machines and organ sounds. The claustrophobic tone of the track establishes a mood, with Lewis’s whispered delivery resembling a private admission of her pain, enhanced by an impactful moment of release when Boesel’s drums crash into the narrative.
Although the album isn’t a traditional “concept album,” its sequencing and pacing suggest a cohesive emotional journey. Following the compelling opener, the album's sound shifts with the darker “Paint’s Peeling” before brightening in “The Execution of All Things,” where a straightforward rhythm allows for intricate guitar sounds and atmospheric synths. The track exemplifies Rilo Kiley’s ability to achieve depth with simplicity. The album flows
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It's hard not to reflect on Rilo Kiley's iconic 2002 album, 'The Execution of All Things,' and trace their journey from small basements to large festivals.