Album Review: The Whigs "In the Dark" Grade: C+

Fans of “Rocky” saw what happened when “The Italian Stallion” moved from the streets into a posh mansion -- he got pampered, lost the “eye of the tiger” and was pummeled by Clubber Lane.

The Whigs’ third release, “In the Dark,” won’t get the Athens’ rockers destroyed in the ring but fans have to wonder if the band was influenced too much by the glitz of tour mates Kings of Leon and “cock of the walk” producer Ben Allen.

Like Rocky in his third film, it sounds like The Whigs have forgotten who they are in this third installment. Sure there are glimmers of the trio’s Replacements’ style college alt rock sound, but a lot of “In the Dark” is missing the unabashed ferocity that has made the trio such a success in the past. The album is a drunk’s line walk between the band’s garage rock roots and an overly studioized, Kings of Leon arena style sound. It works like jukebox provided back ground music to noisy bar conversation. Sure, it’s entertaining and fills in the gaps of awkward silence, but where’s the pulse?

Standout tracks include “Hundred/Million,” “Kill Me Carolyne” and “In the Dark,” but even they sound buried alive compared to fist pumpers “Like a Vibration” and “Right Hand on My Heart” off the band’s second effort “Mission Control” and the infectious sing-a-longs “Technology” and “Violet Furs” off the trio’s’ debut “Give ‘Em All A Big Fat Lip.”

The Whigs have not resurrected Shakespeare with any of their lyrics, but the album’s study hall quiet make the clichéd intros in “Someone’s Daughter” and “So Lonely” stand out. I know lead singer/guitarist Parker Gispert said in a November interview with Rolling Stone that he wanted to be more lyrically direct with “In the Dark,” but this can’t be what the band intended.

While “In the Dark” does not deserve the pummeling Pitchfork delivered, it also is not the progression that was expected. With their next album, The Whigs need to stay out of the arena and rediscover the garage. Ding…ding.