Hipper-than-thou music enthusiasts are already well-acquainted with The Hold Steady ever since their acclaimed 2004 debut Almost Killed Me. Publications like Blender and The Village Voice were quick to herald the Brooklyn bar band for delivering rock with substance—perhaps partly due to their songwriting’s heavy “post-Catholic” undertones?—recapturing a classic sound influenced by Bruce Springsteen and The Replacements with elements of Thin Lizzy, Guided by Voices, Cheap Trick, and The Clash. With six albums in six years, they’re proven themselves champions of the workforce while gaining a larger following with each successive release.

 

But then more pop-minded listeners unfamiliar with The Hold Steady probably don’t get what the fuss is all about. Despite the band’s considerable skill, their indie production (on earlier albums, at least) makes them sound a little rough around the edges. Craig Finn’s vocals may be praised by critics and fans for sounding raw and earnest, but his nasal, sometimes half-spoken delivery isn’t always a pleasant, standout tone. And while the songs are rife with imagery, the impressionistic storytelling can be a little impenetrable (though certainly no more than other bands like Wilco, The Wallflowers, and even U2).

 

I present both sides of the coin because like U2, REM, and Kings of Leon before them, The Hold Steady may be outgrowing their core fan base. Kings of Leon have had their loyal following since their 2003 debut, but some would say they cashed in their trendiness with 2008’s Only by the Night, easily their most accessible and refined album to date. Judging by Heaven Is Whenever, The Hold Steady seems to be on a similar trajectory.

 

Which is not to say this band has radically reinvented itself, but rather that The Hold Steady is offering a more polished version of what has worked for them before. “The Weekenders,” “Rock Problems,” and “The Smidge” in particular remind me of the “rock anthems for losers” that typifies their sound.

 

Yet as catchy as “Hurricane J” is with its Elvis Costello like sound, I don’t know if the lyrics about some guy’s uncertain relationship with a waitress makes it the ideal radio single, or a fan favorite for that matter. And “We Can Get Together,” the inspiration for the title Heaven Is Whenever, seems a bit trite with its plodding pop and inside references to listening to albums.

 

Like any Hold Steady album, though, there are plenty of strong cuts to latch on to. “The Sweet Part of the City” is an excellent southern rock ballad about reminiscing over youth that seems to cleverly tie into the band’s origins. “Soft in the Center” would make a better single as a classic rocker with Finn offering advice to girl-crazy boys looking for widespread romance—the song title refers to walking on thin ice. “Barely Breathing” interestingly textures its arrangement with backing vocals, piano, and woodwinds, while “A Slight Discomfort” closes things out with an epic and dreamy sounding psychedelic rock finale.

 

It’s a pity that The Hold Steady lost their incredibly talented keyboardist Franz Nicolay, who left last year to pursue other interests—he’s just what this album needed to elevate some of the weaker tracks. But there’s still some inspired playing, particularly in the guitar solos and drumming, and Finn (to me) sounds better now that he’s singing more melodies than rambling like a half-mad, half-drunk bar singer. (Some would say that was always his charm.)

 

I personally believe Heaven Is Whenever successfully builds upon The Hold Steady’s earlier efforts by bridging it with accessibility, reminding me of great overlooked efforts by Chagall Guevara and Daniel Amos. Gauging from early feedback, some would say this band has peaked too soon, while others are convinced it’s the start of a bright new future. As with any great underground band that builds a following, it probably depends on how long you’ve been following The Hold Steady.

 

Standouts: “Soft in the Center,” “The Sweet Part of the City,” “A Slight Discomfort”