Remove ads, unlock a dark mode theme, and get other perks by upgrading your account. Experience the website the way it's meant to be.

Brian Fallon – Sleepwalkers

Discussion in 'Article Discussion' started by Melody Bot, Feb 8, 2018.

  1. Melody Bot

    Your friendly little forum bot. Staff Member

    This article has been imported from for discussion. All of the forum rules still apply.

    Not too long ago, Brian Fallon sounded like he was broken. Get Hurt, The Gaslight Anthem’s fifth (and as-yet, last) album, sounded like a band on its last legs. Written and recorded in the wake of a grueling, never-ending tour schedule—as well as Fallon’s divorce from his first wife—Get Hurt felt like the end of something. When Fallon resurfaced on 2015’s Painkillers, his solo debut, he was retreating from the fallout of it all. “I don’t want to survive/I want a wonderful life” he sang in the first single, but the most revealing line came on the closing track: “You can’t make me whole/I have to find that on my own.” That song, and that album as a whole, were the sounds of a man whose recovery was still a work in progress.

    Sleepwalkers, Fallon’s sophomore solo LP, is the natural conclusion to the trilogy that began on Get Hurt. It’s also the most wholly satisfying album of the three, blowing up an array of different influences to make the most vibrant, lively LP that Fallon has put his name on since the early Gaslight Anthem days.

    Credit producer Ted Hutt with at least some of the change in direction. Hutt produced the album that made Fallon a star, The Gaslight Anthem’s The ’59 Sound, as well as the loose, soulful follow-up, American Slang. Hutt was also the man behind the boards for Elsie, Fallon’s 2011 side project album with The Horrible Crowes. Many fans consider those three albums to be Fallon’s peak, and there certainly seems to be some kind of alchemy between Fallon and Hutt that makes for compelling albums.

    Sleepwalkers bears a certain resemblance to all three of the albums that Fallon has made with Hutt before. The classic R&B and soul influences that manifested on American Slang are more evident here than they’ve been since, especially on the horn-laced title track and the handclap-driven opener “If Your Prayers Don’t Get to Heaven.” The moody, dark atmosphere of Elsie comes back from time to time, too, like with the pre-verse whisper singing we hear on “Come Wander with Me,” or the powerful crescendo of the sublime “Etta James.” As for The ’59 Sound, it’s impossible to hear Fallon singing about Ferris wheels and not think of the album that made him a modern rock ‘n’ roll hero.

    Like Painkillers, Sleepwalkers is an incredibly well-crafted album from a guy who has spent the last decade growing from a scruffy underdog into a seasoned vet. On Painkillers, Fallon mastered the art of writing breezy, hooky, sing-along jams—something that was often missing on the overwrought Get Hurt. With Painkillers, though, it felt like Fallon was trying to steer clear from anything that might sound too much like The Gaslight Anthem. He focused his talents on writing taut, concise pop songs with an Americana tinge, and largely avoided the character sketches and Jersey-bound mythologizing that had made Gaslight’s music so evocative. The songs were great, but the album didn’t have the same world-building charm of Fallon’s best.

    With Sleepwalkers, Fallon lets himself stretch a little more. He cares less if the songs sound like his old band—and some of them do, like the riff-y “My Name Is the Night” or the sweeping “Neptune.” He also lets the songs breathe a little bit, filling them with instrumental breaks, extended outros, or direction-shifting bridges. On the last album, the longest song clocked in at 3:44. Here, the shortest song is 3:47.

    Despite the longer songs, Sleepwalkers doesn’t feel like a long record. One reason is the pitch-perfect sequencing, which kicks things off at a breakneck pace (with the propulsive “Prayers” and the infectiously catchy lead single “Forget Me Not”) before settling into a more relaxed groove. The biggest reason the extra length works, though, is Fallon’s determination to tell the truth. After laying it all on the line with Get Hurt—and getting savaged by critics—Fallon seemed more guarded with his writing on Painkillers. Here, he’s back to being the hopeless romantic we all fell in love with on The ’59 Sound. Fallon recently remarried, and Sleepwalkers loosely tells the story. It’s a record about learning to let your guard down again after getting hurt, about picking up your broken pieces and finding the courage to give them to someone new. It’s earnest, but it’s beautiful, and also incredibly human.

    The themes of the album coalesce most clearly on the penultimate pairing of “Neptune” and “Watson.” The former is the look back, at the recklessness of youth and where it leads. “What did it mean for all these years/I spent chasing them Ferris wheels/That were always gone like visions come the morning?” Fallon asks, calling into question virtually every word he sang on The ’59 Sound. But then he doubles back: “But there’s not one day I regret/And I would do it all again.”

    “Watson,” meanwhile, might be the crux of the entire album, the song where the damaged man in the story decides to take one more chance with his heart. “I remember how we danced through the towns on the Thames/For one little night, I felt like I could be made new again,” he sings in the bridge. On the chorus, it’s “If you’re thinking you might want to stay/I don’t wanna go on my own.” Who does?

    “For most of my sad life, I figured I was gonna die alone,” Fallon bellows on “Etta James,” a song just about as good as anything he’s ever written. Sleepwalkers is the sound of him realizing there was never any validity to that assumption. As listeners, we tend to gravitate toward heartbreak albums: records about broken relationships or lost loved ones or unbearable tragedy. We love hearing the exorcism of demons and ghosts splayed out on vinyl or tape—even if it came at great cost to the creator of the music we’re hearing. What’s underrated is the recovery album: records about getting better, moving on, being happy. Sleepwalkers is one of those, and every time it ends, it leaves me with a smile on my face. Because even if we never hear another Gaslight Anthem record, at least I know that, for Fallon, all is well.

    JRGComedy likes this.
  2. Honeymagnolia

    Regular Supporter

    I cannot wait until Friday for this album. I am looking forward to it so much I am planning what time of the day is the best to give it a first listen and to properly get into it.
    Loki and Craig Manning like this.
  3. eagles1139


    Great review. As a diehard fan I'm enormously satisfied with this album. His best since the trilogy of other Ted Hutt-produced albums which you mentioned.
    Craig Manning and Saephon like this.
  4. Stevie


    Listening now and I think this album just proved that as much as I loved Gaslight Anthem, Brian just doesn't need the rest of the band to succeed. I'm a bigger fan of his stuff away from Gaslight Anthem, Elsie is still the peak for me but, wow. This just proves how talented the guy is. Perfect.
  5. AlwaysEvolving21 Feb 8, 2018
    (Last edited: Feb 8, 2018)

    Trusted Supporter

    Great review, @Craig Manning. This album is so strong and so good. Brian reminds me of Rod Stewart in some of these songs.
    Craig Manning likes this.
  6. Butinsmallsteps


    Fantastic review. So pumped for this album to drop tonight.
  7. transrebel59


    Really love the album. Incredibly honest and I think Watson features the most honest lyric he's ever written (I won't spoil it but it's the first couple lines of the second verse). Also, does anybody know when he had kids? I literally never heard anything about it until today.
    Craig Manning likes this.
  8. AshlandATeam


    He referenced that his son likes Star Wars, so he had Boba Fett guitar picks to take on tour with him during the Painkillers tour. You can read a lot into what that means, but it gives at least some time frame for him.
  9. Jack Wilmott

    Self-described freestyle wizard poet.

    Just finished my first full spin and its an instant hit for me.

    This is what i would imagine a 6th gaslight anthem sounding like to a cetain extent but at the same time its got something fresh to it. Id say this is the most complete representation of everything Brian has done as an artist.

    Review absolutely nails this record.

    Definitely heavy in the american slang type vibe with a more folky undertow for me. Lyrically its up there with his best too.
    Craig Manning and AshlandATeam like this.
  10. SEANoftheDEAD


    Just got through my first listen. Absolutely loved it.
  11. parkerxcore

    Somebody's gonna miss us Supporter

    I adore this album.
  12. Craig Manning

    @FurtherFromSky Moderator

    It's tough for me to rank Handwritten in his catalog, I think. That record just came along at the perfect time in my life and meant a ton to me in 2012. I don't like it as much looking back, but I always feel inclined to put it near the top for personal significance alone.
  13. Loki

    God of mischief

    This album is a masterpiece. I am loving it.

    Craig - I already gave you a shout on Twitter, but the review is great. I love your writing!
    Craig Manning likes this.
  14. Steve_JustAGuy


    Had a fun first listen. Quick reaction is that it does more for me than Painkillers. For whatever reason his solo stuff doesn't hit as immediately as Gaslight's did, but that's just me.
  15. Pepetito

    Trusted Supporter

    It won't get any better than the 59sound/American Slang/Handwritten trio but this is for sure better than Get Hurt or Painkillers. Diggin it hard.
  16. SEANoftheDEAD


    I'm right there with you. His other work doesn't hit me as hard as Gaslight did/does, but I'm really enjoying this album.
    Steve_JustAGuy likes this.
  17. AVanMill17


    This album is expectedly very good. His lyricism never ceases to get to me.
  18. dlemert


    After being bored to death by Painkillers and underwhelmed by the latest Gaslight release, this album is tremendously great and unexpected.
    AlwaysEvolving21 likes this.
  19. AVanMill17


    The sound and feel of the song "Sleepwalkers" suits him so well.
    alkalinexandy likes this.
  20. skurt

    Sleekest of beaks. So Good.

    Craig Manning likes this.
  21. alkalinexandy

    Trusted Supporter

    Really well-written review that sums up the album nicely. It's an album that's just about victory as it is defeat... And it handles both with a positive tilt that makes my broken heart happy.

    But did anybody else geek out when they heard "Neptune" and immediately though "Shit, this has an Elvis Costello vibe!" and then even harder when the "Watching the Detectives" reference came up on "Watson?"
    Loki likes this.