11 Songs, 41 Minutes

EDITORS’ NOTES

Broken Records’ second album, Let Me Come Home, scales back on the grandeur of its debut, Until the Earth Begins to Part, but still retains the strong melodies and adventurous arrangements to make an album that can still find the dramatic arc. “A Leaving Song” crafts an anthem that sounds like American Music Club’s Mark Eitzel fronting a band that has listened to Travis. The rhythmic tumble of “Modern Worksong,” the imagistic tones of “Dia Dos Namarados!” and the heavenly tones of “The Motorcycle Boy Reigns” reflect an entire catalog of influences and still comes out as only these fine citizens of Edinburgh, Scotland can manage. The extra piano push of “A Darkness Rises Up” chases the band into a corner bar. “Ailene” aches with battlefield cry of U2 or the Waterboys. “I Used to Dream” is the reflective ballad. “You Know You’re Not Dead” reflects a Springsteen-esque delivery and stream of hope. “The Cracks In the Wall” turns towards the stark apocalypse of Chris Isaak.

EDITORS’ NOTES

Broken Records’ second album, Let Me Come Home, scales back on the grandeur of its debut, Until the Earth Begins to Part, but still retains the strong melodies and adventurous arrangements to make an album that can still find the dramatic arc. “A Leaving Song” crafts an anthem that sounds like American Music Club’s Mark Eitzel fronting a band that has listened to Travis. The rhythmic tumble of “Modern Worksong,” the imagistic tones of “Dia Dos Namarados!” and the heavenly tones of “The Motorcycle Boy Reigns” reflect an entire catalog of influences and still comes out as only these fine citizens of Edinburgh, Scotland can manage. The extra piano push of “A Darkness Rises Up” chases the band into a corner bar. “Ailene” aches with battlefield cry of U2 or the Waterboys. “I Used to Dream” is the reflective ballad. “You Know You’re Not Dead” reflects a Springsteen-esque delivery and stream of hope. “The Cracks In the Wall” turns towards the stark apocalypse of Chris Isaak.

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