Way back in 2009, Europe released their comeback album 'Last Look At Eden' to much success. Not only did the band show they 'still had it', but they had progressed massively as musicians, blending modern era music with Joey Tempest's new, lower, vocal range and releasing an album with charisma, punch, and some intensely catchy hooks. With a perfect blend of the old, big haired era of Europe, and an added modern twist sprinkled in for good measure, 'Last Look At Eden' was the much needed resurrection for Europe's career.
However, on first listen of their new album, 'Bag of Bones', one can't help but wonder if they've moved that one step too far into the new modern direction, abandoning their roots just that little bit too much.
Although 'Not Supposed to Sing the Blues' is a continuation of the softer side of 'Last Look at Eden', songs such as 'Riches to Rags', at the very beginning of the album, show little to no passion, with much of the unique Europe sound lost. It's not so much that it is a bad song, so much as there is no real kick to it, no bite. The title track and 'Firebox' (which carries the unmistakable stink of an Oasis rip-off through and through), both suffer the same problem, with lack lustre, even boring, guitar solos, repeating the same chorus line over and over until the lyrics just stop making any sense.
'Demon Head' links back to the sound of the album's predecessor, but with a more cheesy 80's keyboard solo (think 'Final Countdown' era Europe), heralding back to the bands early years. However, the issue is that the song does not hold up by itself, and just sounds like it was written as a B side for the previous album, but found itself scrapped and then reused on 'Bag of Bones' when they didn't have enough songs for the new album, and had ran out of ideas. There is nothing new about this song, nothing you couldn't guess and, what's more, there is no drama or atmosphere, nothing which pulls you in and makes you fall in love with it instantly.
'Drink and Smile' is the album ballad, with a semi-acoustic guitar used throughout, and effects layered to high heaven on top of Joey Tempest's voice, to give the song a more Western feel to it, almost like an old cowboy film of sorts. I half expected to turn around from my laptop and find myself sat in an old saloon amongst the cowboys, flapper girls and tumble-weeds. Even after hearing the last album many, many times, if told that this song was Europe, I wouldn't believe it. And nor would I want to.
'Doghouse' has more bark than bite (I apologise for the pun, but hey, it's still better than the line 'No matter what I do, I'm always stuck in the doghouse'), but has more of the 80's stadium rock sound of old. The riff is catchy, but generic, and, much like many songs on this album, repeats the chorus just that little bit too much. Regardless, the guitar solos in this song (and generally throughout the album) are pretty good, nothing particularly spectacular, like a cheap imitation of an Eddie Van Halen solo (except far more generic and more simplified) , but it does begin to feel after two or three songs like they're all the same solo, just slotted into different places on different songs.
'Mercy You Mercy Me', although it beginning abnormally quiet (not sure whether it's a technical problem left over from mixing, or just a really bad introduction), this song is overall, excellent. Darker, grittier and showing off the band's musicianship, as well as a full range of Joey's vocal prowess, it is by far the best song on the album. It stands out, it is catchy, but it also grabs you by the balls, drags you screaming into the action; forces you to actually pay attention to it.
Album closer 'Bring it all Home' is a retrospective ballad, looking back on the band's career over the years, the ups, the downs and the support of the fans throughout. Its soft, melodic approach is beautiful, however the lyrics just do not sit comfortably. Partially as they're repeated a good few times, and partially as the way they're worded, 'we've had some laughs along the way' just seem submissive and more than a little defeatist.
This is a band that, a few short years ago, were on the come back with anthems such as 'The Beast' and 'Last Look at Eden', showing exuberance, boasting of their triumphant return. Now they just seem to have given up. What happened? They're a good band technically, still kick ass live and have a passionate fan-base. So where has their drive gone? There is no song on this new album that shows a clear cut passion, a desire to make nay-sayers choke on thoughts of the band's doom.
Maybe the passion got caught in the line of fire of the mixing and editing of the album. Joey can sing, he doesn't need the extra layers added to husk up his voice. They can all play their instruments, they don't need it all cleared up and changed by some bloke in the studio.
Overall, I don't think I could be any more disappointed with this album. So much potential, passion and determination, all abandoned for the technology's sake. A band like Europe don't need to succumb to such whims, and in giving in to temptation, they have given up on what could've been a sterling album.
[4/10]
