Ok, I’ll be honest; I’ve been putting this off for ages. So much so, this review is probably going to end up nearly a quarter the size of what you come to expect/endure.
You see, I was looking forward to Fallen Empires by Snow Patrol. It was the last album in a huge period of releases and would, with any luck, be the perfect conclusion to a time where certain albums flourished (in particular Ceremonials) and others floundered (Mylo Xyloto).
Like Coldplay who have polarised opinion despite selling heaps and heaps of records, Snow Patrol also have the same stigma of a band that can sell out arenas, receive critical acclaim but still split opinion. While not as big a fan of Snow Patrol as say Coldplay, I still think they put on a wonderful live show, have one near faultless album under their belt (Eyes Open for those keeping track) and their Best-Of is a must have for those who want a fantastic compilation of melancholy pop (and a cover of Crazy in Love).
But like Coldplay, 2011 is not Snow Patrol’s year, by quite a considerable distance.
The main fault with Fallen Empires is its boring. Now, I know a certain section amongst you will be slapping your collective foreheads and saying “No shit Sherlock, what next? Water is wet? The Sky is blue?” but, to be honest, up until now, I never really saw the argument.
Oh sure, the band are guilty of being a bit slow with acoustic ballads and generic lyrics of heartbreak and nothing else, but there was usually an under current that at least made the songs interesting. Fallen Empires rarely has these moments and for something that goes on for nearly an hour, it’s almost painful to endure.
There are a few bright moments on the record. I enjoyed Called Out in the Dark and This Isn’t Everything You Are as either simple, easy listening pop songs or rehashes of a tried and tested formula of stadium rock ballads. Despite not being a huge fan of the title track upon first listening, it sticks out as something of progress by combining electronic elements with Snow Patrol’s signature sound and does grow on you.
But these are single releases and are expected to invoke interest. The only other stick out tracks on the album are In the End (which, as one of the more rockier songs on the album, really sticks out) and opener I’ll Never Let Go, which features female backing vocals and sets the stage for something epic, electronic and awe-inspiring.
Instead, it builds up expectations for something that begins to falters after track two and then falls apart as soon as we reach the mid-point, with excruciatingly slow tracks which go no-where.
It’s an unremarkable record which seems to be a terrible remake of every Snow Patrol album since Final Straw, only far, far worse. While there are some bright sparks that incorporate the new electronical influence and offer something fresh for Snow Patrol’s back catalogue (Just Say Yes withstanding); it’s an otherwise unmemorable outing which goes on for a dog’s age and by the end, you’ll forget what any of the individual tracks sound like but won’t dare endure further listens encase your ears attempt to evacuate your skull.
A record for only the most hardcore of Snow Patrol fans (if such a thing exists) or those who want a record which combines Echo and the Bunnymen, Take That, LCD Soundsystem and Arcade Fire and still sound dull and lifeless.
If this is the new direction; consider Snow Patrol's previous struggles, triumphs and back catalogue of enjoyable pop-rock well and truly dissipated.
A fallen empire indeed.
4/10
H
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