Yet, at the same time, several songs (including “Waste a Moment”) have some charming internal rhyming, and even the aforementioned tracks still plug into the same singular, hook-filled groove as the rest of the album.

Jared’s bass on “Over”, in particular, finally achieves the U2 atmospherics KOL started flirting with on without ever succumbing to being a parody of Adam Clayton. While he never full-on revisits the indecipherable yowl of yesteryear KOL classics like “Happy Alone” and “King of the Rodeo”, he’s freer with shifting the dynamics, moving from strategically placed barks to just-hammy-enough vibrato. Even if attempted the same thing after two albums’ worth of public turmoil, there was still an onset of exhaustion, the sense of a family band who hadn’t yet fully repaired their frayed relationships.

You know, we save songs until we get them right."Judging from the video, the band appears to be aiming for an even more expansive sound with "Radioactive," using the children's choir for the song's background vocals.

"We went into the studio and we tried it and it wasn't really working, so we were going to scrap the whole song.

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They are a good band that has always been right in the mix of decent hardwon rockin' and there is no denying their musicality and melodic sense.

Lyrically, the band continues to struggle against the woodenness of their own words, with Caleb once again relying on bellowing melodramatic declarations rather than evocative stories.

The West Coast escapism of “Conversation Piece” comes from his cousin Matthew’s lovely guitar line, not the verses, and “Over”, like “Closer” before it, tries to examine psychic pain, but gets undermined by the heavy-handedness of phrases like “I see you’re crazy and so am I.” Even with the band’s youngest member (bassist Jared) approaching 30, the Kings still only write about men and women in the broadest terms imaginable.

By the time the white noise in the background of “WALLS” mutates into can-opener distortion, the experimentation is well-earned by how comfortable they are with each other on the rest of the record.

The sonic diversions — subtle as they are — always count.

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Even a meat-and-potatoes rock band like Kings of Leon recognizes that, in 2016, the conventional album rollout is a bad move.

It starts with one of the fastest songs (the lead single, no less), peaks with the jangly mid-album cut “Eyes On You”, and closes with the title track, its only proper ballad.