Indie music is all about roots. The major hiccup in thatfundamental principle when it comes to modern roots music is how rootless itsounds. Having been raised in New Jersey, before being based in sunny Colorado,‘The Lumineers’ are a band that proves that all hope is not lost. The use everytrick in the book to give the impression that they are occupied with clangingin the dust of the great depression. The crisp crackle of vintage sound in thebed track of ‘Flapper Girl’ slowly gives way to an aggressive banjo pickingriff with a hint of little footsoldier drums in the track ‘Charlie Boy’. Thebeauty of both of these tracks, like most, is the fact that they ooze with asense of both simplicity and spaciousness throughout.
Upon listening to 'Ho Hey' several times over on repeat, Ihad to check out the rest. Not one of the songs on the album could beclassified as a dud. The bulk of the percussion segment is taken care of byplenty of boot stomping and hand clapping along with lyrics worthy of a man ina sheepskin wig in the British countryside. For fans of the ‘Avett Brothers’ or‘The Head & the Heart’, this is a ‘must listen to’ album.
By and large, the band conveys a lot of the spiritedvitality (with a great level of strain, it is difficult to not say oddity) thatthe music of Harry Smith did. ‘Submarines’, is something that has beendelicately set to clomping piano. It is the incredulous tale of a man whostruggles with the fact that his visions, while at sea, are not believed bythose he recounts them too. ‘Flowers in Your Hair’, on the other hand, is asong that addresses ones growing pains with a sense of soothing. The haunting,yet impressionistic, cello recital in ‘Dead Sea’ and guitar work worthy ofimmense praise in ‘Slow It Down’ are individual elements that hint at what thisgood-natured trio could be. Yet, unless they take that bold next step, theirtalent will be nothing short of saccharine as they attempt to charm the generalpublic.
