O.C.-natives Cold War Kids defy all chill Californian stereotypes of beaches, sunshine and greenery. They sport black jackets and skinny jeans fit for cloudy skies. Darkly insightful lyrics accompany the soaring vocals, which contain a blend of garage post-punk and gospel fervor. This is the epitome of indie-rock cool, as far as image goes.
The first time I stumbled on the band was when I heard “Hospital Beds” from their 2006 debut “Robbers & Cowards.” “Mine Is Yours,” the title track of their new album, is fashioned like a power ballad. Soft, tween pop-worthy electronic beats introduce the tune, and then echoing drums fall in line with lead singer Nathan Willet’s words. Realistic love runs out of room, Willet mourns. He cannot sway the sun or the moon for the object of his affection. A crescendo into the heights of romance succeeds in ear-worthy satisfaction, promising “All my stones become your pearls/All of my trials are your treasures.”
Other gems off the album don’t shy away from tribulation either. “Royal Blue” dotes on watching rain clouds and having skies for roofs. Upbeat clapping and rough-and-tumble guitar riffs make this message shine. Likewise, “Out of the Wilderness” is laden with visual imagery, interesting enough to seem otherworldly (“cryptic graffiti greetings to read”) and magnificent enough to place yourself in the scene (“I will always walk tall/when the rain starts to fall, I come out of the wilderness to lay by the waterfall”). Aside from the strong presence of guitars and drums, synth keyboards give the Cold War Kids airy, glazed undertones. There is richness of sound, which proves complementary to the emotion-packed array of love stories.
Two odd music styles end up in the selection, really for variety’s sake rather than to add depth to the album. “Bulldozer,” “Sensitive Kid” and “Cold Toes on the Cold Floor” feature sharper vocals, jagged and fierce in temperament. In this way, the Cold War Kids retain the slightly disheveled charm of their earlier albums. These songs would be better received in an eclectic blues lounge because they near on rockabilly and are just short of ’90s grunge. This music release ends with “Flying Upside Down,” a somewhat forgetful tune meant to leave you with the rising soulfulness of the band. The goal for this track seems to be raw energy instead of lasting enjoyment.
Though there are definite lulls in the song list, the Cold War Kids’ ambitious attempt to bring heart isn’t for naught. For instance, other artists addressing similar topics are tempted to sing apathetically. For those with a soft spot for a cross between mainstream melodies and indie ruggedness, the band is at point in its career to convey exactly that.
A blogosphere chart-topper is “Skip the Charades.” The song is a plea for seeing through the fogginess of false strength and flowery language. Jangling cymbals and light guitar strumming offset the dim nature of the narrative (“you wait on letters/patient for any sign of life”).
And then there’s “Finally Begin,” a more low-key number. Near-spoken verses state the scenario: years of over-thinking and commitment issues on the protagonist’s part broaden the distance between two lovers. He tells himself, “If it’s got to be a leap of faith, I wish somebody’d push me. That way I’d know who to blame.” The lilting way that insecurities are expressed draws in the listener while the complexity offers more sentimental value than your average refrain.
Ultimately, the Cold War Kids are refreshing for slow mornings and overcast days. They’re commendable for being radio-friendly yet still being poetically dynamic enough for the indie world.