In the four short years since their debut album hit the market, Band of Horses has grown from a relatively unknown band (originally called Horses), to a band whose most famous ballads, “The Funeral” and “No One’s Gonna Love You,” have been featured in numerous films and TV shows, and now they’re back once again with their third full-length album, Infinite Arms.
Since they first hit the scene, band members have come and gone, and the group moved from indie imprint Sub Pop to major label Columbia. Band of Horses’ recent commercial success will no doubt expand with Infinite Arms, as several songs lend themselves to being radio-friendly.
Though the new album is certainly a treat for fans, it’s also somewhat of a downer. While the songs eventually find their way into the heart, at first listen, it is obvious that the band’s sound has changed. Unlike their previous outings, Infinite Arms falls a bit short of delivering the raw, haunting and gripping sound that originally won the hearts of their fans and, instead, opts for slower ballads and homey tunes, best suited for a quiet night in or a long drive with no particular destination.
While singer Benjamin Bridwell’s vocals are forever impressive, some of the earlier lo-fi charm and the familiar reverb have been lost on this album, and his voice on some of the tracks sounds almost too polished and, as a result, less personal. Despite the fact that the sound fans are accustomed to has changed in some ways, their enormous talent still allows for a memorable album.
Though it may have been more suitable elsewhere on the album, the opening song, “Factory,” is a melodic ballad that will easily become a fan-favorite, as Bridwell’s voice soars throughout the track as he sings, “I fell into some kind of sorry state/ but looking back now I think it’s finally time for me to laugh about it/ and get my things together and find something to say.”
The album’s first single, “Compliments,” follows as a more energetic, foot-tapping tune than the opener and, though it is enjoyable, Bridwell’s voice almost drowns in the grandiose guitar strings toward the very end, taking away from the song. “Laredo” is the third track on the album and another possible favorite, featuring a more Southern sound. “Laredo” deals with a lonesome man traveling to forget his woes and, though the fuzzy guitar chords create an energetic beat, the lyrics and Bridwell’s vocals make the cries for a lover all the more emotional.
The album’s title track is most reminiscent of their earlier work with quiet and haunting sounds. Infinite Arms opens with the sound of birds chirping and frogs croaking and progresses into a sweet song, if nothing else, as the chorus achingly yearns for another.
“Evening Kitchen” is similarly haunting, as it opens up with soft crooning and features eerie back-up vocals which help the song feel more personal, as though the band recorded the ballad while strumming their guitars around a fire. Focusing on a disappointing relationship, this track is probably the most relatable and most emotional for listeners, as Bridwell laments, “For me, this bottle of wine/ is to slow down my mind/ and forget the things that I knew.”
A change in their sound will be obvious to fans by listening to other songs, like “Dilly” and “NW Apartment,” as they explore sounds previously unheard of by the band. Yet it would be foolish to say that the band has failed completely with their new album. While Infinite Arms may be a change for the band and their fans, after a few listens, one may realize that the band still delivers memorable songs, and that change isn’t always a bad thing.