It's a brief album, clocking ten songs in just over 40 minutes. The result is an album that does feel less claustrophobic than previous efforts, with a lean aesthetic that straddles the gaps between classic Tom Petty, '80s Fleetwood Mac, and more contemporary acts like Arcade Fire.
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On their seventh studio album, 2016's WALLS, Kings of Leon clearly attempt to crack the surface of that codified shell, hunkering down in Los Angeles with producer Markus Dravs ( Florence + the Machine, Arcade Fire, Mumford & Sons), purportedly taking a looser, less critical approach to recording. Although those albums had their brighter moments (the driving "Supersoaker"), there was a sense that just as KOL ascended to their rightful place in the post- U2 rock royalty, they became codified and predictable. It's a stance the band has assumed unflinchingly, if somewhat doggedly on subsequent albums like 2010's Come Around Sundown and 2013's Mechanical Bull. In some ways, the tonal shift made sense to a band poised to storm the awards stages next to similarly grand-minded acts like Coldplay and the Killers. Buoyed by the popularity of hits "Sex of Fire" and "Use Somebody," the Tennessee four-piece transformed from ragged, post-punk upstarts into arena-bait arbiters of anthemic, mainstream rock uplift, exposing their abiding love for U2 in the process. It's easy to forget that when Kings of Leon broke through in 2008 with Only by the Night, they were already four albums deep into their career.
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