You’re right to be wary of course. Look at the Libertines shambles (let’s get the references to them started early shall we?), if you believe what you read about them you’ll be rushing out to by their latest ‘masterpiece’ only to be confronted by a shambolic mess. Where is this album you’ve been reading about? The saviours of British indie rock? Maybe not.
Occasionally if you can bring yourself to ignore the hype you may find something of real substance under there. If you can get past the NME covers (all hair and teeth), the brash statements from Johnny Borrell himself and the general fawning and media scrum you might just find a good record underneath it all. And such is the case with Razorlight, sure Mr Borrell isn’t as great as he thinks he is (but then that’s almost the definition of being 22 surely?) but he’s not doing so bad either. And the rest of the band are no slouches either.
You may be familiar with the singles, ‘Rip it Up’ is where it all started, a straight forward rocker destined to be an indie club favourite for years to come. ‘Hey Girl / Get on the dancefloor / Rip it up yeah / that’s what it’s there for’ may not be quite the match for Dylan it’s author may claim but it’s a genuinely invigorating song with a hugely catchy guitar line and a chorus you can sing the second time you hear it. Let’s not overcomplicate here, when executed this well it’s more than enough. Or there’s ‘Stumble and Fall’, another great chiming guitar intro, quickly leading into stomping drums as the song grows and grows. ‘Stumble and Fall’ keeps building and building without ever losing control before the breakdown calms things down for a bit of a breather before leaping straight back in there. Latest single ‘Vice’ see’s Johnny showing off his crooning prowess at the start before leaping into a hugely energetic chorus climaxing in a crescendo of guitars and shouted lyrics.
For their third single they bought the tempo down a touch for ‘Golden Touch’. With it’s refrain of ‘you could have it all if you want it / you can have it all if you want it so much’ about ‘a girl who’s never alone’ and the jealousy that brings. In keeping with the spirit of the album it’s a snapshot of being young and cool and living in one of the most vibrant cities in the world. And maybe this record should come with a London A-Z such is it’s influence over ‘Up all Night’. A soundtrack to nights at gigs, at clubs downing drinks, taking drugs and generally having a good time. As they say on ‘Which Way is Out’ ‘Still you / rack ‘em up / knock ‘em back / line ‘em up / put ‘em down / have a little taste’ which sounds like our sort of night out.
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Yet after inviting you into this achingly hip world of on the brink musicians and their gaggle of hangers on they’re not afraid to show you the flip as well. ‘Dalston’ (apparently about Pete Doherty) talks about a particularly grimy end of London renowned for it’s ease of attaining hard drugs, ‘don’t go back to Dalston / just come back to me’ he cries at the end with a genuine hint of pain. Or there’s ‘Get it and Go’ (remarkably Elastica sounding, with great bass) a song dedicated to some unfortunate justifying heroin. ‘We talked all night about suicide / and she said if this is living / how come I never feel alive / first time you’re there it really it get’s you up / second time’s alright but it’s just not enough no / shoots through your veins / tears all your nerves apart’. At times like this it’s difficult to remember they are such a young band such is the cynicism and world weary attitude they bring to their songs. As they say on ‘Up all Night’ itself ‘This towns full of counterfeit dreamers / maybe I’m one too’.
Musically the more seasoned will hear a myriad of influences all stitched together. To the forefront is Television (in particular the intro to ‘To the Sea’ is almost a direct lift from the ‘Marquee Moon’s guitar line) but it’s tempered with a pop nous that elevates them from mere copyists. As you’ve probably guessed the record is lyrically and vocally led and the rest of the band is very much in the background at times but leaps to the fore to keep Johnny Borrell’s ego in check and speed off in different directions. When they do steal the limelight they are a joy to behold, shifting effortlessly through the gears as required to produce adrenalised rock and roll. Truly you need to strip away the bullshit that surrounds this band and introduce yourself to one of the albums of the year.
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