We the Kings’ “Smile Kid” trades innovation for pop appeal

Written by Shane Smith, Staff Writer

“We the Kings”, who burst onto the scene in 2008 with their power-pop hit “Check Yes Juliet,” have recently come back around to their conventions with their new album, “Smile Kid.”

Within it, they not only show themselves to take influences from whatever pop song is being blared over the radio, but also that they have refused to improve upon the faults found on their debut album. The sophomore album is supposed to exceed expectations, not rehash the sound for a budding fandom.

The first song, “She Takes Me High,” begins the album with a high note that is muddled down due to the trite love lyrics. Despite their one fault, (that being Travis Clark’s lack of variety in his songwriting,) the song is quite catchy in its pop-punk style and draws one into the album.

Another song, “Promise the Stars,” appears to sound like the Jonas Brothers mimicking Son Volt. This abrasive change in sound seems more like a cash-in on Panic at the Disco’s recent foray into baroque pop, with the same lyrical tone as the track before it.

“Heaven Can Wait,” the lead single, is annoying in its usage of electronic drums in the introduction; such conventions make me lower my expectations for albums. The vocal range is still bland, as it is “The Story of Your Life” and “Summer Love.”

Yet, between those two bland filler tracks, “Rain Falls Down” stands out nicely with its different style, a bit of variety in Clark’s vocals, and overall catchiness. It makes one wonder if the album could maintain those heights in the following tracks.

“In-N-Out (Animal Style)” will confuse the listener for a few moments if they try to connect a love song to a hamburger joint out in California. However, the name of Los Angeles repeated throughout the song is an assurance that it is a cultural joke.

Most of the succeeding tracks, including the much-hyped collaboration with Demi Lovato entitled “We’ll Be a Dream,” are not as original, preferring filler techniques and overused geek-rock conventions to songs that sound like Frank Capra’s 1934 romantic comedy It Happened One Night to the point of nausea.

Not even the last track, “What You Do to Me,” and its hidden epilogue can save the record from collecting dust on shelves.

Overall, “We the Kings” did not live up to expectations with their new album, even if those expectations were low due to their unvarying power-pop sound. The good parts of the album could not save it from a D-, which is fair considering that Clark threw away what little innovation he had in trade for bankable singles and catchy sounds.

““We the Kings”” is the new Chicago.