The Cranberries

Downtown Records, 2012

REVIEW BY: Pete Crigler


First off, a little backstory on the sixth Cranberries’ album, their first since 2001’s Wake Up And Smell The Coffee: after their 2002 greatest hits tour, the band reconvened in the studio with their longtime producer, Stephen Street, and proceeded to begin work on some new material. After a few months of work, they decided to take a break to pursue separate projects. But six months turned into eight years. Then, in late 2009, they came back together and restarted work on several of the 2003 tracks. The result is the 11 tracks contained on the new album, and boy, are some of them breathtaking.

The opening track, “Conduct,” sounds like something that would’ve been recorded in 1993, and in a way, that’s what a lot of Cranberries fans were hoping to hear on the record. The shimmering beauty of the song makes it one of the best songs I’ve heard all year. I’m a nostalgic purist at heart, and so hearing something like “Conduct” just pulls the heartstrings; this is what I grew up listening to, and it is a marvelous thing to behold hearing that they’ve barely changed a thing in over a decade. All over the record, Dolores O’Riordan’s glorious voice is still the same as it ever was, helping to make the music swell and grow into something amazing.

“Tomorrow” is a classic Cranberries love song, another one that the fans will be singing aloud at their shows. Some songs like “Fire & Soul” start off a bit sluggish but grow as they move along, but that’s something that a lot of Cranberries fans have come to expect over the years. The overall theme of the record, love and its joys and consequences, fits in beautifully with the record’s release, which came out just after Valentine’s Day. “Raining In My Heart” has ‘single’ written all over it and hopefully, it wouldn’t have much of a struggle fitting on retro pop radio playlists.my_heart_sings_the_harmony_web_ad_alt_250

“Losing My Mind” is one of the heaviest tracks on the record, but that doesn’t take anything away from its beauty. Taking a cue from the electronic overtones of their last album, they combine the beats with their trademarked sound and create something that doesn’t sound dated or stale. On the other hand, “Schizophrenic Playboy” sounds like an outtake from To The Faithful Departed, and that’s not something most people would be interested to hear. But still, to have only one dud on a whole album after being away for over a decade is not something many other artists of the Cranberries’ stature could pull off.

Other tracks, like the waltz-like “Waiting In Walthamstow” show the band willing to try something new and different, and they deserve applause for still wanting to try new things and not stay in the same old sound. Then there are rockers like “Show Me,” which show the band in their finest glory, proving they know what the audience wants.

The ferocious but also restrained drumming of Fergal Lawler is on full display on “Astral Projections,” and he’s still able to show why he’s one of the most dynamic drummers in alternative rock. Meanwhile, Noel Hogan’s quiet strumming on “So Good” proves he’s able to both showcase and step back whenever it’s necessary in order to heighten the intensity of the music, always with his brother Mike backing him on bass. The title track closes out the record, and the acoustic guitar intro is absolutely gorgeous, helping to set the song down its beautiful route. Given all of the Cranberries’ hits and their achievements, this album stands as one of their high watermarks. Even after being away for so long, they’ve basically picked up right where they left off without any space and that’s almost impossible for any other band to do in this day and age.

Overall, this is shaping up to be one of the most amazing albums of the year and will definitely not disappoint any hardcore Cranberries fans; it may just help them pick up some new converts along the way.

Rating: A-

User Rating: Not Yet Rated


© 2014 Pete Crigler and The Daily Vault. All rights reserved. Review or any portion may not be reproduced without written permission. Cover art is the intellectual property of Downtown Records, and is used for informational purposes only.