Razorlight - Slipway Fires
Razorlight are oat the forefront of the Indie scene and have paved the way for many skinny fit jean clad bands to wave their trilby hats around and tug on their matted ‘bed’ hair.
Their latest offering, Slipway Fires is the quite boring follow-up to their self-titled album from 2006.
The album opens with Wire To Wire, the guys current chart offering, which, as we know is not exactly in the running for party song of the year but nevertheless is an enjoyable song to listen to which lets you know what you’re in for with the rest of their album.
Hostage Of Love has a pretty opening with an acoustic guitar strumming away in the background with Johnny Borrell's voice as the only other sound for the first 45 seconds before a bass guitar sneaks in.
To be honest, it actually sounds almost like a folk song and is very different from some of their older records. It’s quite empowering song and after a minute and half it picks up pace and you can see the Indie kids twirling around already.
On You And The Rest the drum sticks on the side of the snare drum intro is something I’m so used to hearing in Indie music; one again it’s just Johnny and an faint instrument for the first minute or so before a couple more instruments join the fray building up to a full-band sound a good two minutes into the record.
I’m not too sure if I’m a fan of these ‘extended intros’ to be honest, it seem that the song is taking ages to get going, but when it does build up to ‘the big bit’ near the end of You and the rest; I must admit that my feet start tapping until the guys revert back to just the drum sticks before it quietly fades out. Not a great ending.
Tabloid Lover is the first upbeat track on the record and I reluctantly find myself actually enjoying the song despite it’s over the top-rhyming of each line. It’s nothing special and sounds pretty structured but in comparison to it’s predecessors it’s the best so far.
I initially thought that North London Trash title was about Kate Moss (it isn‘t!), but the song itself sounds like an extension of Wire To Wire and for the first couple of seconds I wonder if my iTunes has gone back to the beginning of the CD. The song itself is a typically drab Indie song - making out that it’s cool to be trashy.
This song is a perfect example of why I dislike Indie music; all the kids who listen to it try to adopt a ‘I don’t give a shit attitude’ when in fact they spend hours getting that bed-head hair and crumpled dresses. The whole ‘scene’ will love this song - and probably hate me now.
60 Thompson begins like a very singer / songwriter track with just Johnny’s vocals before the bass kicks in in the background. I must admit that Johnny’s vocals are very likeable and on songs like this I really like him. I think it’s the songs that play up to the snotty ‘beautiful people’ attitude that put me off.
60 Thompson could actually convert me into joining the Razorlight as it is a beautiful song that breaks the stigma that come with music like this - you know… the whole foot tapping, winkle picker clad eating disorder rejects.
We stick with the slow pace on Stinger and I begin to wonder what the inspiration behind the record is as it sounds like it is coming from the heart rather than just whacking something out to get a bit of cash.
I can see this being a great festival anthem, it’s in the same vein as Robbie’s Angels and in my mind I see everyone waving their arms from side to side, faces covered in mud but displaying a huge smile.
We’re back on with the foot tapping and hair pulling music with Burberry Blue Eyes and I imagine Johnny spinning around singing this but surprisingly, it’s not a straight-laced as most songs and is a bit adventurous in comparison to the other songs.
Blood For Wild Blood really makes an impact with Johnny’s powerful voice once again opening the track but the words come right from the pit of hit lungs as the piano slowly builds around him.
Monster Boots has another one of those bloody slow intros that are really starting to become the signature of this album. But then the guys really redeem themselves as the song kicks in with Andy Burrows really showing off his drumming skills as it is his super speed that makes this song the success it is.
The House is a very fitting final song… It sounds like something you’d sing when mourning the dead, which to be honest, this record is very much like. I remember the days when Razorlight were upbeat and happy, now it seems like someone has sucked the life out of them and left them with miserable war songs.
All in all a very disappointing record from Razorlight, despite my high expectations. The songs are boring and uninspiring, despite Johnny Borrell’s impressive vocals. All in all they have failed to convert me to Indie music.
Rating: 2/5
Skip to: Stinger
FemaleFirst - Ruth Harrison