Album: Razorlight
When The Libertines broke up, it’s members all started different bands. One of them is Dirty Pretty Things, fronted by Carl Barat, and of course there is uber-addict Pete Doherty’s Babyshambles. Bass player Johnny Borrel now fronts Razorlight, who released their second – untitled - album last July. Debut album Up All Night [2004] was clearly classed as garage, with this new one the band has decided to lean more towards the pop side. The result is a very light and melodic indie-rock album.
Opener In The Morning is what got me interested in this release. It is a nice summer track and keeps being played by the (alternative) radio station I listen to at work. It has a very familiar theme; in the morning you know you won’t remember a thing. Let’s face it, we’ve all been there. The song has clearly been influenced by The Clash. The same goes for Hold On, which also has that steady beat and an eighties feel.
The overall theme of the album is, of course, love. Loving, losing, wanting… It’s all there. The lyrics aren’t very original, but they work. Odd one out is Kirby’s House, which is about a – you’ve guessed it – house. My definite favourite on this album is last track Los Angeles Waltz, where Borrel stretches his vocal cords to the max. It’s the longest one on the album and a very good choice to end with.
Although it’s not a bad collection of songs, the current sound of the band is not very individual. It’s just one more in the can of indie bands that the UK has pulled open the past few years. And unfortunately, as the bottom is getting visible, the quality of these bands is not increasing. Razorlight’s untitled second album is enjoyable, but not terribly exciting. With a total running time of just 35 minutes, it’s finished before you get bored with it.
Verdict: Not as good as The Kooks, but not half bad either. If this band develops the eighties style they already have in a couple of songs, the third album will definitely do good!