The Gaslight Anthem's 'History Books' - Album Review

It is always a treat when a band you like reforms and releases a new album. It is even better when the band is one that you did not get into until after they had originally broken up, and their reunion provides a new opportunity to join in on the new album excitement and possibly get to see them live. This occurrence is not a significant rarity in reality, but it is always exciting nevertheless - and one of 2023's examples of such is the recent release of History Books, the sixth album from the New Jersey-based rock band The Gaslight Anthem. I cannot remember specifically when I got into the band. Funnily enough, although I was familiar with them before checking them out, I was actually persuaded to go back and listen to them after I heard frontman Brian Fallon's 2016 solo album Painkillers. I was aware of the Bruce Springsteen comparisons, too, which intrigued me - and a listen to 2008's The '59 Sound was enough to hook me in. Despite this, though, I still would not consider myself an expert in all things Gaslight Anthem. There are a couple of their albums which I still need to get - and this also extends to Fallon's solo career, which contains some of the same hallmarks as The Gaslight Anthem but is generally not as punk influenced. The band certainly channel a strong singer-songwriter/heartland rock feel, with the likes of Springsteen, Tom Petty, and Bob Seger all referenced - but they have also, particularly early on, contained quite a lot of punk influences, albeit not as raucous. Fallon is known for his love of The Clash and the London-based punk band certainly influenced some of The Gaslight Anthem's more up-tempo pieces. Since 2015, though, the band have largely been on hiatus. Fallon focused on his solo career and, with the exception of a brief reunion in 2018 to celebrate the tenth anniversary of The '59 Sound, it looked like the band were over. Fallon seemed pretty sure of this in a number of interviews, too, but I tend not to believe anything bands say when it comes to reuniting (or not) as I am sure that the attitudes of those involved changes almost daily. Nevertheless, though, when the news broke last year that Fallon had put the band back together, and that they were working on new music, I was excited. The 2018 tour was always intended to be a brief liaison, but it does seem as if the band are back for good this time. Perhaps Fallon felt that he had achieved what he had set to do with his solo career having released four well-received albums, or perhaps the brotherhood which being in the band provides, given that the same four musicians have made up The Gaslight Anthem since its inception, was once again a welcome thought. A year on, then, and History Books is here - and it is the first release from Fallon, guitarist Alex Rosamilia, bassist Alex Levine, and drummer Benny Horowitz since 2014's Get Hurt. Saying that the album fully returns to the band's classic sound would not quite be accurate, though, and the songwriting here certainly seems quite influenced by Fallon's solo albums as well as the band's older work. It is not as punky as some of their previous albums but at the same time it feels more band-orientated than Fallon's solo work.

Some may have wanted a more harder rocking affair but, for me, History Books feels like the natural next chapter of Fallon's on-going journey. Despite it being the product of a band, you get the sense that most of the material stems from him. I like the more downbeat vibe, though, and there is a lot to enjoy here. Kicking off with Spider Bites, though, the album does get underway in more of a harder rocking manner - with Horowitz rolling drumming and some brash guitar stabs from Fallon and Rosamilia creating a raw soundscape. Whilst the song is not as punch as it may initially seem, it nevertheless is packed full of subtle melodies and is a great representation of the band's core feeling. The stabbing riffing resurfaces occasionally, but the verses focus on Fallon's excellent vocal delivery, and gives prominence to some strong bass playing from Levine, whilst the chorus feels a bit bigger - introducing a Pogues-esque folk rock edge, with a more up-tempo feel and some organic synth melodies. This chorus is infectious thanks to the energy contained within and this energy extends into a rather stark instrumental section which sees some simple guitar notes ringing out against a building wall of sound behind them. The song does not exactly beat the door down but it reintroduces the band nicely and it is packed with atmosphere. The album's title track, and lead single, follows and it is notable for featuring a guest appearance from Springsteen. Fallon credited him for being a big reason for getting the band together - and the two artists have appeared live with each other over the years. It makes sense that the two have finally recorded together, then, and Springsteen takes the second verse - adding his unique voice to the smouldering cacophony of chiming guitar melodies and spiky drumming. The chorus is more typically hard rock in nature, too, with more of a riff-based approach and some anthemic vocal melodies - before a bridge takes this anthemic nature further, leading into a simple guitar solo in what is rare moment of flashiness for the band. Following two rockier pieces, then, the album slows down somewhat for Autumn - a folkier piece based around a shuffling groove and an opening guitar motif which sticks in the brain pretty easily. It is more downbeat than the previous songs and it feels a bit more like Fallon's solo work, but the main guitar hook roots the track in the band's cannon - and the raw drum sound adds a tougher edge than what would otherwise be present. Subtle harmony vocals add depth throughout and, although not as powerful as some, the slow-burning chorus really does sink in after a few listens. It is a song which has grown on me quite a bit since first getting the album. I prefer some of the more in-your-face tracks, but Autumn is a great 'mood' piece - and is likely to become a real favourite for that reason.

Positive Charge is more in my wheelhouse, though, and it was one of the songs which stood out to me on my first listen to the album. It remains one of my favourite cuts here, too, and the band's Springsteen influence is clear throughout. It has a decent pace throughout and opens with some screaming guitar leads - but is grounded throughout by Fallon's expressive vocal delivery and excellent lyrics. The lead guitar playing is more prevalent here, with Rosamilia cutting loose occasionally, giving the song a boost. It also features one of the strongest choruses on the album, harking back to some of the most anthemic moments form The '59 Sound. The song is perhaps less raw than that, though, with more of a 'production' including some excellent piano which joins towards the end, but it certainly channels that early feel - with a chorus which should be belted out by crowds the world over, and a later bridge section which is made to be heard live. The following track, Michigan, 1975, is another personal favourite, although it is very different to the previous song. It is much more of a slow-burner, but the vocal melodies throughout are excellent - and the song is built around a really hypnotic guitar melody which has been stuck in my head since first hearing it. This is another song which could have sat nicely on one of Fallon's solo albums as it feels a bit less band-orientated. The percussion backing is less driving than the band typically are and the mix has more of a prominent keyboard presence to create the song's atmospheric soundscape-like backing. What makes the song for me, though, is Fallon's excellent performance. His lyrics are always great, and a little different from the norm, and songs like this allow them to really shine - and even though it is a slower number the chorus is another excellent one, backed with piano and a bit more of a percussive drive. Little Fires gets back to something more hard rocking and it is likely the song here which feels the most like the band's older, punkier material. From the opening drum barrage, through the chugging verse riffs, to the folky melodies of the strong chorus the song rocks - and the chiming guitar melodies throughout and the growl of Levine's bass give the song its distinct character. The band's older albums are packed with songs like this and it shows that they have lost none of their spark despite much of the material being a bit more on the mellow side. This song never lets up from the word go and it even includes a pretty lengthy guitar solo - which is a welcome addition that fits in with the song's harder rocking feel nicely. The Weatherman returns to the album's core sound, opening with some wordless vocal melodies - which soon morph into some quite oppressive verse chords that are backed by some snappy percussion. Arrangement-wise, the song is pretty stripped back. Fallon's voice is front and centre as a result, but there is still a strong atmosphere evoked throughout - with the chorus feeling a bit fuller, including a pulsing bass presence and rumbling organ. The song becomes more drum-led as it moves along but it retains its simplicity and character until the end.

Empires feels similar, but its overall sound is much more organic. Despite a slower pace it does not feel as stripped back as the previous song, with more of a slow, shuffling drum groove centring everything - whilst ringing bass notes give the song weight, along with the subtle piano backing throughout. What I have always liked about Fallon, too, is his ability to include strong choruses in even the most downbeat of tracks. This song is no exception, and the chorus here feels like a moment of light in the dark. It does not significantly change the overall arrangement, but the slightly more strident vocal melodies give the song a little lift - along with the aforementioned piano adding a touch of class. I Live in the Room Above Her returns to something more hard rocking nature, and the song opens with a pretty classic rock inspired-riff which feels a bit different to the band's usual approach. I really like the strident, old-fashioned hard rock approach to the guitar here, though, and the song feels a bit meatier as a result despite it still being pretty atmospheric overall and mid-paced. There are harder-hitting pieces here, but as a throwback to more of a 1970s sound the song works well. The verses are not as heavy-sounding, although Levine's bass dominates with its raw edge, whilst the punch of the chorus comes from the drums - which are surprisingly busy given the more deliberate pacing. The inclusion of another guitar solo feels fitting given the song's harder rock edge - but there is still plenty of the band's trademark atmosphere despite the riffier and 1970s rock approach. The song's coda feels particularly in-keeping with the rest of the album, too, and it is a nice little addition to the song as it closes out. The album then comes to an end with A Lifetime of Preludes which is return to the album's core sound, although it feels a little more upbeat than some of the other pieces here thanks to a somewhat faster drum beat overall and the busier guitar melodies which are present throughout. There is less of an atmospheric backing, too, with the guitar melodies providing more of the musical drive throughout - whilst more subtle harmony vocals during certain sections do the job which the more prominent keyboards do elsewhere. Like most of the songs here, too, the chorus is another hooky one - and Fallon's folky melodies suit the slightly faster pace of the track. The song comes to an understated close, too, which is fitting - leaving the last chord and melody hanging slightly before fading out. In some ways, this final moment sums up the whole album nicely. It certainly shows a different side to the band than some would have perhaps wanted - but History Books is unmistakably a Gaslight Anthem album. Many of the songs here stick in the brain despite the relative lack of up-tempo rockers, but the atmosphere is typical of what the band do best. It it easy to forget that this is their first album in nine years, too, it is great to have them back - albeit perhaps more plaintively than previously.

The album was released on 27th October 2023 via Rich Mahogany Recordings/Thirty Tigers. Below is the band's promotional video for History Books.