Constantines Albums (4)
What The Critics Say
Kensington Heights is the Constantines' first album for the respected Canadian imprint Arts & Crafts, and, unfortunately, it's also the first of their albums that doesn't improve upon what they've done before. At their best, the Constantines are untouchable at bringing new life and fire to hard-charging, straightforward rock, and albums like Shine a Light and Tournament of Hearts were filled with songs that were as agile as they were searching and anthemic. On Kensington Heights, all the elements that usually make the band great seem to be in place -- the guitars charge, the drums and keyboards are insistent, and Bryan Webb's vocals are as gravelly and earnest as ever. However, with a sound as traditional as the Constantines' is, there's a fine line between classic and predictable, and this time the band ends up on the wrong side of it. Kensington Heights starts off promisingly with "Hard Feelings," which boasts a great keyboard riff and all of the urgency the band usually brings. From there, though, the band moves into slower, ballad-heavy territory that tries to re-create the magic of Tournament of Hearts' "Soon Enough," but while "Do What You Can Do," "I Will Not Sing a Hateful Song," and "Our Age" seem heartfelt, they ultimately don't make much of an impact; that there are so many midtempo to slow songs makes the album feel longer than it actually is. This draggy feeling plagues some of the faster songs, too; "Million Star Hotel" and "Shower of Stones" are driving and hooky, yet still feel a minute or two longer than they should be. Kensington Heights does have some flashes of the band's usual power and momentum, particularly on the aptly named "Trans Canada," which chugs along briskly on spooky keyboards (not coincidentally, it's the album's shortest song) and "Credit River," which pushes the band's rock forward with snarling garage rock organs and phased synths. Even if Kensington Heights is the Constantines' least satisfying album, the band's sound is never less than mighty; it's just disappointing how easy it is to let so many songs here fade into the background. ~ Heather Phares, All Music Guide
'Tournament of Hearts'
Release Date 10/11/2005
Tracks 10
Label Sub Pop
See Album Tracklist and Review
What The Critics Say
More about refinement than reinvention, Tournament of Hearts gives the Constantines' sound just a few tweaks that add up to even more impact. While Shine a Light gave a better grasp of the band's ability to span combustible rock and lighters-aloft ballads, Tournament of Hearts focuses their aggression and beauty into a set of songs that are slightly more accessible but still formidable. The life-and-death urgency that has characterized the Constantines' work from the beginning is still here, most notably on the fantastic, charging opener, "Draw Us Lines" -- which does with a few, artfully placed guitar blasts what legions of other bands try to do with their amps continually cranked to 11 -- and its stealthy but just as hard-hitting follow-up, "Hotline Operator." And, with its "Sweet Child O' Mine"-like guitar breakdown and lyrics like "we won't be undersold," "Working Full-Time" touches on the band's common-man roots (unlike too many indie rock bands, the Constantines never sound elitist). However, during most of the album, this intensity is channelled into slower, but still tensely coiled, songs that make Tournament of Hearts the Constantines' subtlest work yet. Fortunately, the band is as good at quietly anthemic ballads as it is at loudly anthemic rockers -- and the brass that colors "Love in Fear" and "Lizaveta" has nearly as much kick as the band's guitars. "Soon Enough" is one of the rousing, slightly rootsy songs that seem to come to the Constantines effortlessly, while "Thieves"' cool electric pianos and whispery vocals underscore the late-night tension that runs through all of Tournament of Hearts. However, the album's finest moments might be its final two songs: the soaring, massive-sounding "You Are a Conductor" and simple, delicate "Windy Road" are a study in contrasts from a band that excels at being anthemic, romantic, brooding, and world-weary at the same time. Classic without being too traditional or contrived, Tournament of Hearts is the sound of the Constantines operating at the peak of their powers. ~ Heather Phares, All Music Guide
What The Critics Say
Though this is their second album, so few people heard the Constantines' self-titled debut that, in effect, Shine a Light is the introduction to the band's sound for many. Fortunately, it's a good one, delivering on the rough-hewn ambitions of the Constantines with a fiery intensity that few of their contemporaries can match. On harshly brooding songs like the title track and "Nighttime/Anytime (It's Alright)" -- on which singer Bryan Webb sounds like it's anything but -- and on quiet mood pieces like "Goodbye Baby & Amen," the Constantines sound focused, meaningful, and, above all, smart. Indeed, this intensity and intelligence can be overwhelming at times; the sharply restrained focus of Shine a Light's first few songs borders on the dour, and strangely enough, many of the album's more accessible songs come toward its end. Still, there's no denying the stark magnetism of "Insectivora" or the anthemic charge of "Young Lions," which reaffirms that the Springsteen comparisons surrounding the band are well-founded. Despite its occasionally intimidating sound, the group is capable of crafting fairly poppy songs without sacrificing any of its smarts or edge, as displayed by the excellent "On to You" and "Poison," which sound a little bit like a tougher, more soulful Spoon. Similarly, even the Constantines' most aggressive songs have intricate touches, such as the keyboard flourishes on "Scoundrel Babes." A tautly crafted, thoughtful album, Shine a Light more than follows through on the promise of their debut, and proves that the Constantines have the ability to be both down to earth and dramatic within their grasp. ~ Heather Phares, All Music Guide
What The Critics Say
Hailing from Guelph, Ontario, the Constantines exploded onto the Canadian independent music scene in 2001 with their self-titled debut, a complex collection of songs that pose questions without offering any clear answers. The band's lyrics read like the poetry of revolution, whether calling for the death of rock & roll (on the opening track, "Arizona"), storming metaphorical Bastilles on "Some Party," or turning a cliché Rod Stewart lyric ("Young hearts be free tonight/Time is on your side") into an earnest rallying cry on "Young Offenders." As good as the preceding tracks are, however, none of them prepare the listener for the abrupt left turn that occurs with "St. You," a powerfully mournful ballad (with lyrics worthy of Nick Cave or even Leonard Cohen) that ends in a wash of feedback, signaling the beginning of the excellent instrumental, "The McKnight Life." The final three tracks on the disc are just as strong as the rest, with "Steal This Sound" and "To the Lullabies" (sounding like they could have been featured in the film Fight Club) featuring lyrics such as "You sing like dynamite tonight/as we race through downtown financial sectors glowing, and we serenade with car alarms." Overall, the Constantines' debut is a stunningly strong effort, well worth repeated listens. ~ Robert Kaups, All Music Guide
