After a critically acclaimed debut album and an even better sophomore follow-up, the buzz surrounding the Constantines' new album was electric. Their third effort, Tournament of Hearts, is an interesting change of pace from their previous efforts and has its moments but ultimately does not live up to the hype.

Stripped down to a minimum of production, the intent was for lead singer Bryan Webb and his band mates, drummer Doug MacGregor, bassist Dallas James and keyboardist Will James (who is noticeably muted throughout the album) to show their maturity as musicians. While the content remains the same — the working-class subject matter from their previous efforts continues to give Bry Webb inspiration for this album — the sound is quite different. Webb's gruff street poet style still lends a haunting quality to the music that projects an image of a smoky lounge at an hour well past midnight but where their post-punk ferocity once wound listeners into an emotional frenzy, they appear toned down on this release.

We do however see glimpses of the wicked guitar and drum work on several tracks such as on "Hotline Operator," which, after a tense buildup of Webb's restrained singing and periodic guitar hooks, takes on a Catch-22 like rhythm. This is one of the few examples on the album where their old sound shines through, as blistering guitar solos are limited to chorus lines or brief ten second stints. While one can argue that this minimalist method allows Webb to explore his vocal capabilities, it detracts from the overall cohesiveness of the Constantines' sound.

The songs have some flow issues, appearing disjointed at times and certain songs don't seem to fit the mold of the rest of the album especially on "Soon Enough," which has kind of an alt-country feel (think Black Rebel Motorcycle Club).

That's not to say that Webb isn't spectacular — his lyrics are as powerful and meaningful as ever — and unlike many others of the post-punk genre, he doesn't feel the need for Fugazi-like screaming. If anything, Webb sounds eerily similar to Bruce Springsteen or John Mellencamp with his street poet advocacy of working class ideals. In fact, the Constantines continually speak to their roots on Tournament of Hearts, both as native Canadians and as members of the working class. This is especially true of "Working Full-Time," an ode to the day laborers of the world, living check to check, whom Bryan Webb clearly understands as he sings, "Day, do I have the guts to greet you."

Although the Constantines reel in the noise in favor of subtlety, there are several shining tracks amongst the sparseness of this album. The best is "Hotline Operator," a smoky, bluesy, '70s-esque track that builds to a climax of guitar, organ and Webb crooning "hotline operator/ oooh, do me a favor."

"You Are A Conductor" also shines with its progressive buildup of crashing drums and gripping, icy guitar riffs as Webb sings: "there's a little evil in everything." The electric tension that one can feel racing just beneath the surface of each song finally erupts. It's a welcome sound after waiting for much of the album for the Constantines to break back into their Shine A Light form. Unfortunately that's the pattern this album follows from start to finish.

Listening to this album is frustrating, as we wait for a return to the sheer excellence of their previous efforts while instead the CD languishes in mediocrity. Tracks where guitarist Steve Lambke takes over the vocal duties cannot compare to those where Webb leads. The two songs where he does so, "Thieves" (a gloomy, trudging and awkward song reminiscent of "Boys of Summer") and "Windy Road" (a weak and whispering final song, with lyrics that far outstrip Lambke's vocal abilities) are the worst songs on the album.

To make things worse, the disc is a full ten minutes shorter than their previous album, making it less than 40 minutes long in total. All in all, Tournament of Hearts feels more like a hold over than a true Constantines album. The record is a disappointment after what they accomplished with their previous releases and despite several glimpses of their previous excellence, this CD is an overall let down.

Grade: D