Bruce Springsteen took a liking to The ’59 Sound, the 2008 The Gaslight Anthem release, and chances are The Boss will be equally impressed with their latest record, American Slang, which drops June 15. His influence is more than evident in Brain Fallon’s somewhat hollow and conversational vocals. But the record does not appeal to only fellow Jersey rockers; even though it lacks overall versatility, American Slang is enjoyable summer record for any casual listener.

The title track “American Slang” is, theoretically, everything that a single should be: Loud, grounding drums playing with detectable but not overbearing guitar melodies coupled with a few key memorable phrases. But the tempo drags, and Fallon’s voice pushes almost too hard, leaving the song’s namesake line “You told me fortunes in American slang” nagging in combination with the almost-too-cheesy-but-therefore-almost-successful “And when it was over, I woke up alone.”

The band gets into full swing on the second and third songs, “Stay Lucky” and “Bring It On.” Benny Horowitz lights up the drums, providing an energetic backdrop for fine and simply constructed melodies and equally vibrant vocals. “Bring It On” slows down but retains the substantial emotive overtone that seems to be absent on “American Slang,”

Mr. Springsteen would be especially touched to see his influence reflected in the fourth and fifth track titles, “The Diamond Church Street Choir” and “The Queen of Lower Chelsea. “The Diamond Church Street Choir” can easily be the next single off of this album. The drums tone down to let Fallon’s clearer vocals and the guitars shine, giving way to a more folksy and jazzy sound that begs snaps and sing-alongs to the playful refrain “Who-oo-oo does it better than we do?”

 The Gaslight Anthem keeps telling stories and creating legends throughout the album, referring to a queen on “American Slang” that might just be that queen of Lower Chelsea. Overall, the writing is simple and relatable, but hiding between regular words are more profound and striking strung together sentences. 

 The album begins to close in the exact way you expect it to with “Old Haunts”’s pop-punk rift under Fallon’s lower vocals that strangely resemble those of a certain “Miami” Stephen Van Zandt. “The Spirit of Jazz” indeed has spirit and the call-and-response vocals welcome an absent-minded sing-along. In fact, by the last time the band sings a chorus on American Slang, you find yourself joining in on the refrain.

 The strange familiarity of the first 9 tracks might deter you from paying special attention to the closing track. But “We Did it When We Were Young” is the gem of the record: A quiet, raspy mediation on the expanse of time without pounding drums is the closest Fallon will get to any Jungleland, and he’s almost in sight of the glow from that Exxon sign, even if his version clocks in at 4:16.  Fallon’s finally melodic vocals crooning “When we were lions, lovers in combat/Faded like your name on those jeans that I burned”  and “I don’t feel you or recall/I‘ll put your bones out in the yard” are pleasantly and shockingly poignant after 30 minutes of fast-paced spit fire.

The album is riddled with exploration of time that seems tried and predictable at times, but waved between rock-heavy rifts and constant drums are a few key phrases. Much like their biggest influence, The Gaslight Anthem writes accessible music that at times sails into the complex but mainly is fun and catchy. Definitely worth a spin or three, American Slang adds viable driving or walking music to any type of music fan.

***.5/5

*This review was composed by Emily Coch