Review Summary: Augustana's sophomore album follows the same winning formula of their first album, but the process has clearly fermented and matured over the time. Can't Love, Can't Hurt features an emotional depth that wasn't quite reached on All the Stars and Boulevard
Being partial to slow, rhythmic, emotional rock, Augustana has been a favorite of mine since their Epic Records debut album All the Stars and Boulevards. "Boston," got all the hype, I hated it. Quickly writing off the band, I continued my search for great, yet relatively unknown, alternative rock to add to my collection. Fortunately I managed to stumble upon the song "Sunday Best" by Augustana, and was instantly hooked. As soon as Can't Love, Can't Hurt hit store shelves I retrieved a copy. As with All the Stars, Dan Layus manages to formulate a winning combination once again. He has an incredible voice, and the way he speaks through most of his stanzas only to sing in the chorus puts more emphasis on just how special his vocals are. Layus says that Can't Love, Can't Hurt is about the maturation of Augustana as a band, but as with many piano rock bands, the album seems to feature love as it's epicenter. But the band finally embraces love for what it truly is, rather than the glam and emotional appeal All the Stars gave it. It's no longer about the sex, about the late nights and long fights, it's about the desire to love and cherish an individual no matter the consequence.
The true magnitude of this album seemingly can be found in the first five tracks. "Hey Now," and "Meet You There," are my two personal favorites. I'd be lying if I said I knew Layus' true intentions behind the lyrics, but I tend to imagine "Hey Now" as a song focusing on the sheer hopelessness of unrequited love ("Hey we're just bleeding for nothing, it's hard to breathe when you're standing on your own.") While "Meet You There" tends to focus on the distractions that can harm a relationship, and the frustration of it. It has a head-bobbing guitar lick in the intro and chorus, interesting from a band that hardly ever features guitar in it's songs. However the greatness of the song comes from the content, and Layus really sends his passion towards the subject within these lyrics ("You probably don't know my voice from a God damn microphone"...."It's a ***ing waste, a teenage taste of me.) And the lyrics are so jolting because Augustana is a band that rarely swears. But that's part of the genius of inserting the words into this song, it interjects a previously unforeseen nature to Augustana, a nature of passion.
"Sweet and Low," has gotten the radio hype. Consider it Can't Love, Can't Hurt's "Boston," just not nearly as popular, which is ironic considering it's a much better song. It does follow the typical pop-piano-rock formula. Slow stanza, powerful chorus, slow stanza, powerful chorus, powerful chorus leading into uptempo-stanza, powerful chorus. Plus the lyrics aren't quite as magnanimous as in other songs, rather they're quite literal, using cliches already heard by most ("Hold me down....and I'll carry you home.")
"Twenty Years" is somewhat the equivalent of "Feel Fine" from the first album. It's a good song up until the last couple of minutes or so, then it branches to epic. "Twenty Years" begins with piano chords and Layus inviting us into his emotional crossroads. Following a simple, yet chilling chorus, where we glimpse into the frontman's emotional history. Guitar and drums enter along with the piano, and the power of the song gradually inclines from there. The last
"I Still Ain't Over You" is roots rock Augustana at their best. It's not Creedence Clearwater Revival roots rock, but even the short opening guitar gives a good indication of this song's intentions. Featuring little piano, Augustana makes this a much more upbeat song than it's predecessor ("Hey Now") and successor ("Sweet and Low") despite the somewhat-deceiving song title. Yes, he still ain't over someone, but the song seems to indicate that want is reciprocated, and they're both going to stick it out.
The rest of the song is certainly not filler...well "Where Love Went Wrong," might be considered filler by some. I enjoy it, but many write it off. "Dust," branches Layus' view on religion. "Fire," harkens back closer to All the Stars and Boulevards than any other song on this track, it's a pure piano melody. "Either Way, I'll Break Your Heart Someday," is roots rock-esque also, having the stronger, more Southern sounding guitar riffs featured throughout. "Rest, Shame, Love" is probably the song I listen to the least on the album. Not because it's a bad song, not because it's filler, but just because it doesn't appeal to me the way the rest of the album does. Can't Love, Can't Hurt is a must have for piano rock lovers for myself. It's filled with an emotional depth, in which the maturation of Augustana clearly shines. I've never understood why a band like The Fray can hit it huge, while Augustana remains relatively obscure. I've concluded The Fray is much more radio-friendly, and thus appeals to the masses, but give me Can't Love, Can't Hurt over How to Save a Life any day.
