The 1900's
Cold & Kind- Parasol Records
Raiting: 6/10
Ironically, the words “cold” and “kind” perfectly describe the first full-length album from Chicago folk-rock outfit The 1900’s. While the lyrical themes of the album deal in large part with the harsh realities of adult relationships, the instrumental aspects of Cold & Kind are much softer than the lyrical counterparts.
On the band’s highly-touted debut EP, Plume Delivery, The 1900’s music heavily relied on 1970’s psychedelic influences. Specifically, on the EP’s lead single Bring the Good Boys Home The 1900’s combined keyboarding similar to that of The Doors’ Ray Manzarek with Peter, Paul and Mary-like vocals. On Cold & Kind however, the band appears to be headed in a different direction, trading in their funky, psychedelic rhythm for a more laid back tone; playing to the strengths of the band’s female vocalist duo consisting of Caroline Donovan and Andra Kulans.
The album begins with No Delay, a short but sweet piano-driven track which also contains a melodic and beautiful string section. After the brief minute-and-a-half introduction provided by No Delay, the album launches into the poppy Georgia which containing a childish chorus during which The 1900’s lone male lead singer playfully sings “Jump for joy, Georgia!” On paper the lyric may appear to lack depth and content. However, in the context of the peppy Georgia, the statement falls in perfect harmony with the track’s overall flow.
What the 1900’s second album lacks in 1960’s and 70’s musical influence it almost makes up for in the disc’s title track, Cold & Kind. The song features two prominent guitar riffs- one of which is sloppily hijacked from The Rolling Stones’ Satisfaction. But what the band looses in originality on the lackluster Cold & Kind is quickly compensated for in the brilliant eighth track Two Ways. Two Ways gives the listener a great vibe and has the energy and presence of a solid opening track. If anything, Two Ways provides solid proof that when the band utilizes their male and female vocal harmony talents they create their best music.
After the electric Two Ways, Cold & Kind struggles mightily to re-launch itself. Supernatural, the track that immediately follows Two Ways build up nicely, but then fails to take off. The final two tracks, Wool of the Lamb and the album’s untitled bonus track continue in a similar boring fashion. In fact, the final lyric on Cold & Kind, “What else could we do?” really sums up the creative roadblock the band seemed to hit at the end of the record.
The main thing The 1900’s traded away with Cold & Kind was their musical roots. In their former years, the band had established themselves on the Chicago music scene by channeling rock and roll legends like The Beatles and The Grateful Dead. On Cold & Kind, the band travels down more of a Carol King and Stevie Nix route, which, for my personal tastes, is a pretty big error.
I guess you can consider my final assessment of the album both cold and kind: I give it 6 out of 10.
On the band’s highly-touted debut EP, Plume Delivery, The 1900’s music heavily relied on 1970’s psychedelic influences. Specifically, on the EP’s lead single Bring the Good Boys Home The 1900’s combined keyboarding similar to that of The Doors’ Ray Manzarek with Peter, Paul and Mary-like vocals. On Cold & Kind however, the band appears to be headed in a different direction, trading in their funky, psychedelic rhythm for a more laid back tone; playing to the strengths of the band’s female vocalist duo consisting of Caroline Donovan and Andra Kulans.
The album begins with No Delay, a short but sweet piano-driven track which also contains a melodic and beautiful string section. After the brief minute-and-a-half introduction provided by No Delay, the album launches into the poppy Georgia which containing a childish chorus during which The 1900’s lone male lead singer playfully sings “Jump for joy, Georgia!” On paper the lyric may appear to lack depth and content. However, in the context of the peppy Georgia, the statement falls in perfect harmony with the track’s overall flow.
What the 1900’s second album lacks in 1960’s and 70’s musical influence it almost makes up for in the disc’s title track, Cold & Kind. The song features two prominent guitar riffs- one of which is sloppily hijacked from The Rolling Stones’ Satisfaction. But what the band looses in originality on the lackluster Cold & Kind is quickly compensated for in the brilliant eighth track Two Ways. Two Ways gives the listener a great vibe and has the energy and presence of a solid opening track. If anything, Two Ways provides solid proof that when the band utilizes their male and female vocal harmony talents they create their best music.
After the electric Two Ways, Cold & Kind struggles mightily to re-launch itself. Supernatural, the track that immediately follows Two Ways build up nicely, but then fails to take off. The final two tracks, Wool of the Lamb and the album’s untitled bonus track continue in a similar boring fashion. In fact, the final lyric on Cold & Kind, “What else could we do?” really sums up the creative roadblock the band seemed to hit at the end of the record.
The main thing The 1900’s traded away with Cold & Kind was their musical roots. In their former years, the band had established themselves on the Chicago music scene by channeling rock and roll legends like The Beatles and The Grateful Dead. On Cold & Kind, the band travels down more of a Carol King and Stevie Nix route, which, for my personal tastes, is a pretty big error.
I guess you can consider my final assessment of the album both cold and kind: I give it 6 out of 10.
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