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The Lumineers The Lumineers (Deluxe Edition)

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The Lumineers (Deluxe Edition)

The Lumineers

Alternative & Indie - Released April 3, 2012 | Dualtone Music Group

The Lumineers, a folk-rock trio out of Denver, Colorado, have a pretty interesting sound, an Americana mesh of folk, rock, and gospel that is similar in tone to the Waterboys, say, or an alt-folk version of Bob Dylan circa Desire, thanks in no small part to Neyla Pekarek's inventive cello. And there are some very good tracks on this debut album, including the chamber honky tonk of "Dead Sea," the delightfully goofy but then ultimately sad and elegant "Submarines," and "Stubborn Love," which manages to be bright and chiming while also being haunting and mournful. Not everything here clicks together at that level, but each track is inventive, and when the songwriting and arrangements cross paths perfectly, as they do in the above songs, this is a delightful band.© Steve Leggett /TiVo

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Cleopatra (Deluxe)

The Lumineers

Alternative & Indie - Released April 8, 2016 | Dualtone Music Group

The idea of the supergroup is as old and tired as the history of rock & roll itself. From the Million Dollar Quartet to the Traveling Wilburys, and on and on, the gathering of a few vaunted musicians is usually trumpeted as nothing short of a revelation. Hence the name "super" itself. Usually, it ends up being just a half-baked excuse to hang out and jam -- very rarely does anything much good come from these projects. That makes BNQT an enjoyable aberration, and their Volume 1 album from 2017 is a snapshot of late-decade indie pop and rock at its best. Midlake's Eric Pulido is the ringleader; the rest of Midlake forms the backbone and a cast of big-shot vocalists deliver the lyrical and melodic goods. Franz Ferdinand's Alex Kapranos, Band of Horses' Ben Bridwell, Jason Lytle of Grandaddy, and Travis frontman Fran Healy join Pulido by contributing two songs apiece, and each of them bring their A game. It's tempting to take each writer's contributions and pit them against each other's to see who did what best, but really, what's nice about the album is how well the tracks all fit together, even though they all have intrinsic differences. Part of this is down to having the Midlake guys as the backing band on each song, the rest is down to Pulido's skills as a ringleader. It sounds like the work of one band with five singers, even when the tracks are as different as Pulido's stomping glam rock opener "Restart," Kapranos' evil-sounding ballad "Hey Banana," or Bridwell's rambling '70s rock jam "Tara." Pulido layers in loads of strings and horns throughout the record, giving it a widescreen, epic feel at times while still letting the singers' idiosyncrasies come through clearly. Some tracks are pure soft rock gold, like Bridwell's "Unlikely Force," some are orchestral ballads, like Lytle's "Failing at Feeling," and there's even a track that sounds like a loose and limber Wilburys' track, Pulido's "Real Love." It's a remarkably coherent and listenable album that goes down very smooth, but not without the occasional moment of real emotion or foot-tapping fun. Credit Pulido for making this group truly super and the album one of the best "super" group efforts imaginable.© Tim Sendra /TiVo

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BRIGHTSIDE

The Lumineers

Alternative & Indie - Released September 20, 2021 | Dualtone Music Group

Over the past decade, Colorado's The Lumineers have well proven that they are much more than the twee novelty of their hit "Ho Hey." Though they were originally lumped in with bands like Mumford and Sons, their brand of Americana folk is a more stark, incredibly intimate affair. Sometimes that can translate into an echo of Springsteen, like on the majestic title track—buzzing guitar, pomp drums, jangling tambourine—with its evocative lyrics: "I could see it in the air/ Every word was like smoke from a cigarette." At other times, there is a loose feel of Tom Petty circa Wallflowers, as on the sweet and low piano ballad "Big Shot." Produced by Simone Felice of the Felice Brothers, Brightside mostly opts for subtlety (barely plucked guitar, a wisp of piano on "A.M. Radio") that invites you to lean in and really listen. Vocalist Wesley Schultz has learned how to play his delightfully ragged voice over the years, too. To deliver the poignancy of the lyrics "Find a love, I was leveled at the sight of you/ You were wrong, what I needed was a little clue" on the great "Never Really Mine," he pushes it to a higher register—the song conveying swagger and a desperation all at once. On the daydreamy "Rollercoaster," floating lightly on piano and organ, Schultz punches unexpected words, making you think about what he really means: "I wish we could start it over, have another child." It's not so much traditional poetry as someone plainly sharing real human emotion. The Nilsson-esque "Birthday" is a bittersweet head-bob, and "Where We Are" is ready-made for a TV commercial: sentimental, folksy, warm-hearted, reassuring ("I don't know where we are/ But it will be OK," Schultz sings, with just a slight catch in his delivery). Closer "Reprise" is a treat: Starting off with a driving determination, the sub bass is lifted joyously by piano from Jeremiah Fraites. "I'm headed for the lights/ I'm headed for the bright side, baby, tonight," Schultz promises, the backing vocals rising and falling as if at sea. © Shelly Ridenour/Qobuz

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III

The Lumineers

Alternative & Indie - Released September 13, 2019 | Dualtone Music Group

III is a prosaic title for a release as ambitious as the Lumineers' third effort. The numeric title carries a double meaning: the album is a song cycle told in three parts, with the first two available as a digital EP prior to the September 2019 release of III. Through these three chapters, the Lumineers tell a tale of the long-lasting ramifications of addiction and co-dependence. The ten ruminative songs (the deluxe edition adds three bonus tracks, including a cover of Leonard Cohen's "Democracy" and the slight sketch "Soundtrack Song") are collectively a far cry from the rousing stomp of "Ho Hey." Tempos rarely quicken and the arrangements often do little more than gently cradle the plaintive voice of Wesley Schultz. When the record does get a little lively, as it does on "It Wasn't Easy to Be Happy for You" and the searching closer "Salt and the Sea," there's still a melancholy undercurrent tying the whole record together. Schultz and co-writer Jeremiah Fraites etch telling details into their story that make the sadness seem earned and realized, if lugubrious. III moves at a deliberate, nearly dreary pace that forces a listener to pay attention, and while it can take some effort to meet the Lumineers on their own terms, it's nevertheless easy to admire the ambition behind the project. © Stephen Thomas Erlewine /TiVo

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Ophelia

The Lumineers

Alternative & Indie - Released February 5, 2016 | Dualtone Music Group, Inc.

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Deck The Halls

The Lumineers

Christmas Music - Released November 28, 2023 | Dualtone Music Group

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The Lumineers

Alternative & Indie - Released April 3, 2012 | Dualtone Music Group

The Lumineers, a folk-rock trio out of Denver, Colorado, have a pretty interesting sound, an Americana mesh of folk, rock, and gospel that is similar in tone to the Waterboys, say, or an alt-folk version of Bob Dylan circa Desire, thanks in no small part to Neyla Pekarek's inventive cello. And there are some very good tracks on this debut album, including the chamber honky tonk of "Dead Sea," the delightfully goofy but then ultimately sad and elegant "Submarines," and "Stubborn Love," which manages to be bright and chiming while also being haunting and mournful. Not everything here clicks together at that level, but each track is inventive, and when the songwriting and arrangements cross paths perfectly, as they do in the above songs, this is a delightful band.© Steve Leggett /TiVo

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Cleopatra

The Lumineers

Alternative & Indie - Released March 25, 2016 | Dualtone Music Group

Maybe the Lumineers got tired of hearing other bands replicate the big-footed stomp of "Ho Hey," an aesthetic that was impossible to avoid in the wake of their eponymous 2012 debut. So many bands adopted this thunderous folk that it no longer seemed to belong to the Lumineers; it appeared communal, perhaps existing to the earlier generations the Lumineers so clearly loved yet never quite replicated. Given this omnipresence, maybe it's not a surprise that the trio avoid any semblance of infectious rhythms on Cleopatra, their long-awaited second album, yet the sobriety of this 2016 affair is striking. Melancholy and sullen, Cleopatra feels like a conscious reaction to the idea that the band was merely a boisterous retro-throwback, a band that existed primarily on the surface. Apart from the lead single "Ophelia" and "Cleopatra," this sophomore set avoids tempos that could be called sprightly, and melody comes second to mood as well. Sometimes, the Lumineers are quite effective at being evocative: there's a certain dusky shimmer to the album, an atmosphere that tends to hang as heavy as fog as the record rolls along. This sequencing, where the relatively hookier tunes are pushed toward the front, is typical in the 21st century -- albums are front-loaded to pull in casual listeners, making the bet that the serious fans will stick around for the serious stuff that arrives at the end of the record -- but this also robs Cleopatra of velocity, with whatever energy there was dissipating by the album's conclusion, when the record winds down with its quietest moments. Nevertheless, there's something admirable about the album's solemnity: the Lumineers are on a quest to be taken seriously, and even if they overplay their hand, the earnestness is ingratiating.© Stephen Thomas Erlewine /TiVo