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The Strokes-Skynryd hybrid Kings of Leon debut their fourth album Only by the Night.  It’s the fourth album title with five syllables and arguably their best album so far.  These talented three brothers and their cousin have drunkenly stumbled into fame and fortune and they still haven’t gotten the hang of it yet.  With a singer that “still growls like he eats mud flaps for breakfast,” a guitarist that is still experimenting with buzz and muscle, and two other talented kin, KoL has a bright future in rock ‘n roll.

Let’s pretend music has DNA.  It isn’t proven yet, but one day someone really smart will prove it.  Just like the genome of a person makes them more prone to diabetes, alcohol addiction, or the ability to run a sub-9.69 100 meter dash, a band’s “personality” shows the character of its sound.  A band’s DNA such as Radiohead’s produces a sound with a vocal-centric aesthetic, electronic progression, a triple guitar ensemble, and extensive vamping.  In comparison, a singer like Jack Johnson possesses different pieces of musical DNA.  Jack Johnson’s adenine is acoustic sonority, and his cytosine is mellow rock instrumentation.  Different bands and singers have different components of DNA that cause different types of sounds.  And just like music has differences, people have differences, too.  Some people somehow legitimately enjoy Katy Perry.  Others prefer Guster.  And there are those that actually sit down and voluntarily listen to Jimmy Sturr & His Orchestra, one of the most popular polka bands ever.  But differences are good; they are just…different.

Kings of Leon, a Strokes-Skynryd hybrid from Tennessee, are just that.  Different.  Their fourth album Only by the Night is even different for the band itself.  But like I said before, different is good.

There are many things that set KoL apart from other typical bands.  The lead singer’s voice is among one of the most unique of any band.  He sets a new bar with his Southern twang falsettos, and his stretched, scratchy voice.  His voice “emanates pure Allman-longing.”  The guitarist makes the sound stand out.  His dissonant chords and satisfying solos are essential to this band.  The lead singer’s brothers are the bassist and drummer.  While the bassist is often neglected in reviews and media spotlights (surprised?), he is actually very talented.  The drummer, on the other-hand, is amazing.  He teeters on greatness with his ska-ish beats and Radiohead-like style.  A foursome with this amount of talent, possessing such a unique flow of creativity, is currently breaking musical history barriers.  But like Radiohead’s path of success, it had to start overseas.

The three brothers grew up in Tennessee, but traveled constantly with their popular, traveling preacher dad.  As a result, they were home schooled, but this did allow them to see many other places and meet an array of people.  A bitter-sweet result of home schooling can be the bubble effect—being overly sheltered.  By moving so much and not experiencing the public school’s peer’s musical influences, the three brothers were kept pure.  To add to it, their Pentecostal dad shunned secular music. 

Then in 1997 their dad resigned from his Church service (not defrocked, but alcohol-related), divorced his wife, and they experienced music for the first time.  The two older brothers, Nathan and Caleb, moved to Nashville to tap into the music scene.  There they met, and became friends with Angelo Petraglia, songwriter and former new wave musician.  This was the beginning of making KoL big.  Nathan and Caleb called for little brother Jared and Cousin Matthew to complete the band.  Petraglia and Ethan Johns, son of the producer of Led Zeppelin and The Who, helped KoL with their first EP Holy Roller Novocaine and their first album Youth and Young Manhood in 2003.  This was a good start for KoL.  Just like the rest of their life, compared to the typical kid’s, it was different.  And just like everything about KoL, it’s a good different. 

Unfortunately, KoL’s native country was not their biggest fan.  Youth and Young Manhood and its single “Molly’s Chambers” were a success in the UK.  The European Press went so far as to say they were one of the driving forces behind the “new rock revolution.”  They were awarded Best Band of 2004, given huge opportunities in the commercial world, and to top it off, they were asked to open for mega-superstar bands such as U2 and Bob Dylan.  Not many remember this, but in 2004 you could hear “Molly’s Chambers” and other songs by KoL scattered all over the place.  Video games, commercials, and movies like Stuck on You and Talladega Nights: The Ballad of Ricky Bobby featured these hairy, mustache-wearing, Southern rockers’ music. 

Late in 2004, KoL released their second album Aha Shake Heartbreak.  Like the first album, it made big waves in Europe.  It seemed these rowdy Southern boys had continued their garage band sound into another solid album.  “The Bucket” broke into the Top 20 in Britain and other songs were commercially valuable again.  “Taper Jean Girl” was in the popular thriller flick Disturbia.  But unfortunately, their next album wouldn’t come out until 2 and half years later because of lead singer Caleb’s growing ego.

But it was worth the wait.  Because of the Times was released on April 2, 2007 in the UK.  BofT became the crowning album of KoL.  This album showed their talent as not only a Southern-rooted garage band, but a band with expanding creativity.  BofT had their Strokes-Skynryd sound, but it was filled with a new experimental element not seen in the two former albums.  Critics loved leader singer Caleb’s new lyrics and his always-improving-and-surprising voice.  Rob Sheffield, author of Love is a Mix Tape and writer at Rolling Stone, said, “Caleb’s vocals continue to defy description: Steppenwolf’s John Kay after a nad-crushing motorcycle crash? The Band’s Richard Manuel with scurvy? Dave Matthews getting ripped apart by wolverines?” 

The greatest thing about BofT was its popularity in the States.  It hit #25 on the charts, while impressively hitting #1 in the UK.  Singles like “Fans,” “On Call” and “Charmer” became known as some of the best songs KoL had ever written.  Their exploding light bulb covered album saved a spot in rock ‘n roll history for KoL.

And now, with their fastest turn-around album ever, they have made another big change with Only by the Night.  Arguably their most controversial album, ObtN hit a sour nerve with old fans, but ropes in live show seekers with their arena-like rock mutation.  A noticeable move from their raw, emotional Strokes-Skynryd style to a U2-isce arena rock style has many fans accusing KoL of selling out.  Fortunately, a large portion of their fan base is happy with ObtN.  (Me included) 

Spin magazine says, “[KoL] still rule with a messy hand, applying rough magic and blurry, slurred imagery to their swashbuckling rock.”  Is Spin right?  Do they employ music critic god Chuck Klosterman?  Duh.  Yes and yes.  (Sorry Rob Sheffield)  Its interesting Spin would use the word “messy,” because lead singer Caleb’s main influence for most of the song’s lyrics are from pain pills (shoulder surgery).  Maybe that’s why this energetic and as-always emotional album is obscurely named after one of Edgar Allan Poe’s short stories.  But famous literary writer associations aside, this album proves KoL are still walking down the road to greatness. 

The first track “Closer” is a continuation of their experimental sound heard on BofT.  It’s about a lovesick vampire.  Remember the bit about pain pills?  “With the moon I run / Far from the carnage of the fiery sun / Driven by the strangle of vein / Showing no mercy I’d do it again.”  This track features lead guitarist Matthew Followill’s expanding use of effects and Zeppelin influences.  The single “Sex on Fire” is an arena masterpiece where you can hear lead singer Caleb’s showcase his unique voice with some of the catchiest melodies KoL has ever created.  Unfortunately, the song is about Caleb’s recent run-in with a sexually transmitted disease. 

Immediately following the album’s single, is the song that should be the album’s single – “Use Somebody.”  This song is described as “sonically sweeping,” and is fortunately placed in the middle of the track list, preventing the song from replaying in your head for the rest of the day.  “17” starts as an obvious song about underage girls to a song that scientists are still trying to determine the meaning.  This song is not unusual for KoL.  Emerging from the bubble effect often leads to learning about the world the “hard way.”  KoL are known for partying with the groupies after their shows.  Another track “Revelry” sounds like a soft, soothing drug song.  It is the breather track for the album.  “What a night for a dance / You know, I’m a dancing machine / Put the fire in my bones / With the sweet taste of kerosene.”  And finally, the ending ballad “Cold Desert,” a song about a man nearing despair and defeat, but finds a way to keep fighting, ends an album that leaves us wanting to hear how the next KoL album will change.

ObtN, while controversial, will continue to power KoL into the lime-light.  With a singer that “still growls like he eats mud flaps for breakfast,” a guitarist that is still experimenting with buzz and muscle, and two other talented kin, KoL has a bright future in rock ‘n roll.  When can we expect #5?