CD: The Gaslight Anthem - Get Hurt

Blue-collar rockers channel heartbreak on fifth album

share this article

Get Hurt: it's not subtle, even by the Gaslight Anthem's standards

It’s been that long since the Gaslight Anthem could be called a punk band with any sort of seriousness that a good half of the crowd at their last round of UK shows would have balked at the notion. But it leaves the critic/fan with something of a dilemma: how to marry a continued love of the band with a loathing for the Killer Kings of Leon-style stadium rockers that recent releases have drawn comparisons to? The answer comes in those throwaway lines of frontman Brian Fallon; the sort that written down look like the worst sort of rock ’n’ roll cliché but which, combined with just the right chords, sound like gospel.

I’ve been obsessed with that line about getting called the Great Depression by your friends; and the ex-love who will “always be a soft spot in my cardiac arrest”. In a recent interview, Fallon joked that he had banned much of the blue-collar imagery that had earned him the epithet of heir to Springsteen he had grown to despise: no more songs about Maria, no more songs about radios. The truth is it’s hard to encapsulate the same sepia-tinted American dream once, to put it bluntly, shit gets real: the Fallon of these songs sounds worn out, picking himself up from his recent divorce from his wife of 10 years and taking his influences from the same raw, broken place that his 2011 Horrible Crowes side project emerged from.

It won’t please those looking for another ’59 Sound, but at least it sets its intentions out from the start: opening track “Stay Vicious” begins with a heavy, sludgy riff and feedback-muddied vocals and carries on through lyrics that plumb the depths of medicated depression. There are melodic bright spots: “1,000 Years” is as catchy as it gets, even as it chronicles a disintegrating relationship; and “Helter Skeleton” is almost cinematic in its scope. With its introspective title track, curious spoken-word interlude on “Underneath the Ground” and stripped-back “Break Your Heart” it’s not the most coherent thing the band have ever released, but it’s certainly one of the most honest.

Overleaf: watch the "Rollin and Tumblin" video


Add comment

The content of this field is kept private and will not be shown publicly.
Name that you would like to appear as the author of the comment
Combined with just the right chords, those throwaway lines sound like gospel

rating

3

explore topics

share this article

the future of arts journalism

You can stop theartsdesk.com closing! 

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a great deal, and hope you do too.

To take a monthly subscription now simply click here.

Or
Why not take an annual subscription and save a third off our monthly price simply click here.

more new music

Surrealism, social observation and more muscular sound from the Leeds quartet
A powerful personal outpouring of joy and pain - with a great beat
The London quartet have taken to playing large venues with ease, as this career-spanning set showed
The Lebanese-French musician's father was behind a unique musical innovation
The Philadelphia punk rockers continue to impress
A partial account of how Brit-punk absorbed an aspect of reggae
The Fez Festival Of World Sacred Music and the Fes Gathering bring the world together
Bristol band aren't happy but offer up the occasional sing-along
A new album is unveiled and old tunes are played for the last time
Decades of psychedelia and wonder packed into a puzzling construction