After equivocating between summer and fall for the past few weeks, autumn weather has finally descended on D.C. As Colin Nissan puts it, “there’s a nip in the air and my house is full of mutant f*ing squash.” Decorative gourds and plaid shirts aside, I love this season because I get to listen to new releases. October got off to a good start with Kodaline’s debut album.
Since the release of “In A Perfect World” (June in Europe, October in North America), Kodaline has been dazzling crowds on both sides of the pond. I first encountered their music last spring when they opened for The Airborne Toxic Event at the 9:30 Club. At the end of the set, frontman Steve Garrigan humbly thanked the audience for listening “even though you’ve never heard of us.” Well lads, for those of us who didn’t know you then, we certainly know you and love your music now.
While the critics have not been as enthusiastic as the fans, my philosophy on album reviews goes something like this: “In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. . . . [But] in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so.” (Yes, I’m quoting from “Ratatouille” — because it’s brilliant.)
The Dublin-based quartet displays a versatility in their first album and an ability to craft hook after hook that the critics ought to pay closer attention to before dismissing the band’s music as mundane, post-Bono/Chris Martin alt-rock.
For example, the folk-tinged “Love Like This” opens with harmonica and mandolin and includes lovely “ooh-ooh-ooh” harmonies, broken by a spoken aside that Steve tosses off in a rakish manner, the ghost of a smile lifting the corners of his lips: “I know that love like this won’t last forever / But I, I don’t really mind, I don’t really mind at all.” I love the hush at 3:03 when the instruments drop out and Steve’s a capella delivery captures the loneliness described in the preceding verse: “It grows dark but you don’t mind / Hiding in the back streets, yeah, you’ll never notice me.” Then the full acoustic accompaniment rejoins to propel us onward to the end of the song.
“Love Like This” is perfect for fall, when my relationship with the weather is sort of like the fling described in the song. The gorgeous colors and scents of autumn will inevitably be displaced by winter, but I don’t mind that this lovely weather is only temporary. What we have is now, and as Steve has remarked about this song, “it’s kind of about relationships [that are] not really going anywhere, but you just go with it anyway.”