Razorlight
Razorlight
Universal


I've always found it a mystery why some great bands from the UK really struggle to receive the success in Australia that their music deserves. Bands that immediately jump to mind within that category would include Manic Street Preachers, Snow Patrol, Ash and now Razorlight. Their previous album 'Up All Night' was a corker and, despite reasonable airplay on Triple J for the singles Stumble And Fall and Rip It Up, I doubt they sold many albums over here. Maybe it's a lack of touring compared to contemporaries like Franz Ferdinand, or maybe Australians just don't connect with some British bands.

This self-titled album, like its predecessor, has some absolutely brilliant rock songs but it also contains as a couple of forgettable fillers too. Things start off on a high with the hedonistic swagger of killer single In The Morning, while Who Needs Love? is a way cool snarl at love that brings back memories of Tina Turner's angsty What's Love Got To Do With It? (in lyrics only). Johnny Borrell's unique, English-accented vocals come across as very believable and are perfectly underpinned by the repetitive piano cords.

It is strange though that Razorlight would allow themselves to be another British band writing songs about the US - America and Los Angeles Waltz - both of which are their least convincing songs. Pop Song 2006 does start in a very pop manner and then moves into what sounds like '80s radio music (ala John Cougar Mellencamp) and finishes off plenty of gusto. Back To The Start opens with a reggae feel but chops and changes frequently enough between familiar sounds and unexpected places that it again shows off Borrell's songwriting smarts.

'Razorlight' might not quite be up to Q Magazine's suggestion that this is the best guitar album since 'Definitely Maybe', but this certainly does contain some damn catchy rock songs.

Scott Berry