Die erste Vorladung (VI)
With 11 tracks and clocking in at a brisk 35 minutes, Cleopatra feels slight. Every song is less than four minutes, although compared to The Lumineers’ first album, the purpose is much more serious. There’s nothing as silly as the paranoid “Submarines” or as danceable as “Classy Girls”. The biggest difference, however is the percussion. The main ingredients that turned The Lumineers from indie folk into folk pop were the toe-tapping claps, smacks, and bangs. On Cleopatra, many of the tracks make it through the second verse before adding any kind of percussion, and some don’t use any at all. These songs tend to have a slow build, and are no less dramatic for being quiet.
Apart from “Ophelia” and “Cleopatra,” it offers little with the potential to set the charts alight. Instead, it mines a sound that’s not nearly as immediate or even as accessible. For the most part, Cleopatra creates a slow drift, manifest in a sound that’s far too elusive for immediate gratification. More shoe-gazing than head-nodding, it takes a lazy spin at a leisurely pace, allowing the possibility listeners may find themselves dozing off along the way.
To be sure, there are several songs here that provide momentary pleasures, “Sleep On The Floor” and “Angela” among them. But that one-time feeling of Saturday night celebration has now been dissipated and replaced by a hazy hangover the Sunday morning after. How this affects their continuing trajectory remains to be seen. After all, immediate success does often lead to a sophomore slump. While Cleopatra may seduce the faithful, it would be far better if next time The Lumineers are able to regain their groove.
Indizien und Beweismittel:
02.05.2016 - Köln, E-Werk
04.05.2016 - Hamburg, Grosse Freiheit 36
06.05.2016 - Berlin, Admiralspalast
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