The Gaslight Anthem ProfileHandwritten, the fourth album from The Gaslight Anthem, though a short time in the making, has been a long time coming. Whereas their past has scratched a surface somewhere between Americana folktales and Jersey punk ethos, their Mercury Records debut neglects stylistic samplings and heads straight for a sound of self-affirmation.
Lead track, '45, plays out a twisted metaphor, likening unrequited love to a vinyl record. Be it through characterisation or a lack of lyrical content, like the young love it speaks of, it's delivered with an endearing sense of naivety. Musically it's impeccable radio rock; three and a half minutes of melody-padded choruses, a clear single but bold album opener, heightening already raised expectations.
Keepsake sees frontman Brian Fallon ditch the fumbled clichés and write his most personal and introspective song to date. His voice, filled with pain, narrates the heartbreak of being abandoned by his father as a child – “I just want to love someone who has the same blood.” The four tracks before it soon seem insignificant.
Still emotive, Desire is full of romanticised questioning, a soulful lust unrestrained with vocal hooks. It's everything their previous three albums have alluded too, this time fulfilled, Fallon's lyrics again at the forefront, though nothing without the aid of a polished rhythm section.
While detractors have condemned The Gaslight Anthem as Springsteen or Petty copyists, if there's one band they're plagiarising on Handwritten it's themselves. Fully aware of their competence to the point it's become more a formula than a trademark, their weaknesses are also their strengths. Handwritten is accomplished and calculated and a current pinnacle to what is a fast-rising career. “Stay the same, don't ever change” pleads Fallon in the opening lines of Mae. Who are we to disagree?
