This week's single review comes from Miles Kane and here's what I thought:
Miles Kane? Oh yeah, he's the guy that was in the Last Shadow Puppets, the one stood just behind Alex Turner with the acoustic guitar. It's that kind of statement that has held Kane back from breaking out on his own ever since 2008's vastly successful 'The Age of the Understatement'. But now the newly solo Kane is ready to forge his own career in his own right. No-one's doubting the lyrical talent that Turner brought to their duo, but Kane's contribution is often underestimated and, as 'Come Closer' shows, the former Rascals man brought a lot to the album.
In a very Last Shadow Puppets-style with some more guitar licks, 'Come Closer' is a moody rocker with a thumping beat and bassline, a twisting riff and irrepressible 'woh, woh, woh, woh, ah, ah, ah, ah's' that make this track fantastic. There is a strong Beatley-Kinks vein that runs throughout, but this seductive number is addictive in its spirit and it is a talented piece of work, not bad for Alex Turner's backing singer. The good thing about his previous connections is that there should be more than a few Last Shadows fans that are attracted to this very appealing song.
The lack of acknowledgement given to Miles Kane is of course ridiculous. Turner often spoke about the contribution his long time friend made to the duo the pair formed, while the Rascals were once one of NME's Bands to Watch in the not-to-distant past (2008-ish). But unfortunately for Kane, the Rascals never really took off despite a decent album in 'Rascalize'. His work for the Last Shadow Puppets brought him back from the abyss however, and now with his solo career - so far heralded by this track and heavier rocker 'Inhaler' - is set to power through on its own merits.
Debut album 'Colour of the Trap' (complete with Noel Gallagher cameo) is set for an April 25th release and on the evidence so far, it would be well worth checking out. 'Come Closer' is an addictive song, very catchy and a great appetizer for the record. In an ideal world, it will see Kane finally spring free of the shadow of the, er, Last Shadow Puppets and make inroads into a music scene that needs his rock 'n' roll roots desperately. Worst case scenario, another blow to Kane's talented but desperately unlucky backstory. Hopefully, it's the former, not the latter.
Just so there's no confusion, this review of the album, and last week's was of the single. Phew, know I've got that out of the way, I enjoyed the single enough to make me want to hear the album, and here's what I thought:
There is something brilliantly innocent about Frankie & The Heartstrings. Whether it’s the infectious and breezy guitar riffs, the recognisable yet distinctive vocals of Frankie Francis or the Vampire Weekend-style optimism, you find yourself smiling or toe-tapping with this precise selection of indie pop numbers without realising it. And that’s where debut album ‘Hunger’ is at its best.
The Sunderland five-piece have been put firmly near the forefront of the new rock revitalisation, alongside the likes of The Vaccines and Yuck, and do not disappoint with this first release. There is a simplicity and happiness locked into these songs, complete with ‘yeah, yeah’s’ and ‘woo, woo’s’, that harks back to Orange Juice and even the Beach Boys.
First single and title track ‘Hunger’ is the perfect example of this and the album’s highlight; immediately kicking in with a hooking guitar riff, pacy and driven, full of ‘oh, oh, oh’s’ and telling tales about starting a band and coming out tonight. ‘That Postcard’ is in the same vein – heralded by giggles, another grabbing riff and lights on its feet. Swelling opener ‘Photograph’ and downbeat but irrepressible ‘Want You Back’ follow in suit, while ‘Possibilities’ has the feel it came straight from ‘Pet Sounds’ – if you added in quicker drums and skinny jeans.
‘It’s Obvious’ is a Franz Ferdinand-esque moody rocker, and the sheer freedom in the spirit of the album is epitomised by ‘Tender’. Frankie sings, in his never waning Jack Penate vocals, ‘I’ll be yours/You’ll be mine’ in a happy-go-lucky sing-a-long, along with xylophone dashes and ‘woo, woo’s’ that you can’t help but be caught up by. Contagious from first exposure.
Sure, if you look closely, there are some cracks. ‘Ungrateful’ doesn’t really seem to go anywhere in its lumbering beat, while the changeable ‘Fragile’ jumps from mellow malaise to semi-release without much effect and its goes on too long. Also, final track ‘Don’t Look Surprised’ has the definite feel of a last song and it again carries on too long in its bitterness. But these don’t detract from a solid album.
‘Hunger’ is a fine debut release; its buoyant style, complete with catchy guitar hooks and bright displays from the band (forefronted by the unwavering Francis) make for a more than worthwhile listen, and a sparkling 34 minutes of indie pop. It justifies the buzz that is starting to build around Frankie & The Heartstrings, and the hype may just begin to gather pace as this album gains the exposure it is worthy of enjoying.
And, seeing as I've already got the video to my favourite track 'Hunger' on this blog, here's a pretty decent one from the album - it's Frankie & The Heartstrings with 'Tender'.
I was lucky enough to catch Feeder's latest show in Portsmouth this weekend at the Pyramids, and here's what I thought of it:
Why Feeder are not bigger is beyond me. This is a band who have been around for twenty years now but the Welsh rockers still have not scored that elusive number one album or single, despite an extraordinary back catalogue. In that time, however, they have built themselves an immense live reputation – a reputation there for all to see at the Portsmouth Pyramids in the latest venue of their Renegades tour.
The Pyramids, a carpeted venue big enough so you have the room to stretch your legs and small enough so you can see the band from the back, was packed to the rafters with revellers young and old – a visual testament to the appeal of Feeder’s back catalogue. Love Amongst Ruin, new project for ex-Placebo drummer, set the mood brilliantly with a loud and raucous opening, leaving the crowd more than ready with their grunge-style closer ‘Home’.
Heralded by the theme tune from The Good, The Bad and The Ugly, Feeder took to the stage with an already approving response from the crowd, and then they were promptly blown away. Feeder’s live show is just about legendary now, and the extra power that the trio bring to their stage show gives even the slower tracks added muscle to create an awe-inspiring set.
Mixing old with new, the band played the majority of last album, 2010’s ‘Renegades’, and they stood up well to the live test. The likes of ‘Home’, ‘Sentimental’, ‘This Town’ and ‘White Lines’ all received the same pounding response as they intersect the well-known hits; a well-earned round of applause and the occasional ‘Feeder, Feeder’ chants. Title track ‘Renegades’ can now class itself as a staple of their set, while the touching ‘Down By The River’ and ‘Call Out’ are the highlights of the new material.
But what everyone has come out to see are the greatest hits, and the Newport group do not disappoint. Front man Grant Nicholas treats the crowd with frequent shout-outs to the ‘old school’ fans in Portsmouth, while his talent to write a hooking anthem with a swelling chorus is undoubted. The reception is ecstatic, as the band – powered by the flawless and dominant drumming of Karl Brazil – blitz through some of modern rock’s most catchy numbers. ‘Feeding A Moment’, ‘Pushing The Senses’, ‘Seven Days In The Sun’ and ‘Come Back Around’ are met with the same euphoric reaction as the last, while guitar-fused sing-a-long sessions come in the form of master ballad ‘Just The Way I’m Feeling’ and ‘High’.
The best reaction of the main set is of course reserved for guaranteed crowd pleaser ‘Buck Rogers’, leading to manic scenes in a now hooked audience. The band leave to a joyous ovation, but the band aren’t done yet. The encore explodes in triumphant style with ‘Yesterday Went Too Soon’, followed by intriguing new track ‘Borders’, complete with a promise of a new album soon. And there are no prizes for guessing the, the ultimate anthem ‘Just A Day’ and a fine cover of Nirvana’s ‘Breed’ ensuring the crowd go home in an elated mood.
Now a regular in Portsmouth, Feeder can count themselves as one of the city’s best loved bands and the Pyramids crowd was already calling out for a return. Who cares about the charts now anyway?
Catching the drift by now? Five songs stuck in my head, right now, on the internet -
Feeder - Turn : The architects of numerous modern rock anthems with another cracker - slower but even more powerful. Watch out for their live review, coming soon.
My Chemical Romance - Na Na Na (Na Na Na Na Na Na Na) : Adrenaline-fuelled rock at its best and Gerard Way and Co. on simply top form in this raucous track
The Strokes - Under Cover of Darkness : The Strokes are back and it's as if they've never been away with this energetic and hooking guitar gem
The Subways - I Want to Hear What You've Got to Say : The truly distinctive sound of the young English rockers is at its best with the 'Young for Eternity' opener
Jessie J - Do It Like A Dude : Consider yourself warned - from the first time you hear this disjointed, fuzzy dance track, it will be imbedded in your psyche forever
And here's the captivating video for My Chemical Romance. Done.
Another band creating a bit of a buzz around themselves, so I thought I'd listen to their new single and stick my oar in:
Frankie & The Heartstrings remind me of the Arctic Monkeys. I hasten to add not in musical style; Frankie sways too much onto the pop side of the indie spectrum to be thrown into the same category as the more rock-orientated Monkeys. I mean in the style and feel of their songs; there is an innocence and a lyric that could have come straight off of 'Whatever People Say I Am, That's What I'm Not'; stories straight from lad's nights out. And it's fantastic.
'Hunger' is a happy-go-lucky track about having fun and starting a band, stories directly from the streets of Sunderland where the band grew up. Lyrics such as ‘well it’s about time that we made a stand/and start playing together in our own band’, and ‘we’re waiting outside/for you to come out tonight’ are what made the Arctic Monkeys sensational in their own time, but have Frankie & The Heartstrings got the melodic pull of their predecessors?
In short, yes. As I said previously, it's not as rocky as the Monkeys but it is a magnificent gem of indie pop. With joyous 'oh, oh, oh's', an excitable beat, infectious guitars and an all-round energetic performance, it is topped off by a vocal from front man Frankie Francis that drifts between The Maccabees and Jack Penate. Complete with a nostalgic Blue Peter-style video, it's a great bit of pop that stands them in great stead for the anticipated release of their album, similarly entitled 'Hunger', next week.
Frankie & The Heartstrings have picked up their fair bit of publicity in recent weeks, most notably from the usual suspects of BBC Radio One and NME, but from this snippet it is more than deserved. It's enthusiasm is contagious and it's one of those that stays in your head for hours, but still a great listen after twenty plays. It only heightens the excitement surrounding the album release. Bring on Monday.
And here, complete with the oddly-fantastic video, is 'Hunger' from Frankie & The Heartstrings.
This week sees PJ Harvey return with her latest critically-acclaimed album 'Let England Shake'. Having received a lot of praise from the music press already, I was keen to see what all the fuss was about and here's what I thought:
PJ Harvey has been an impressive figure in the music world for a number of decades now. She has been recognised in both a commercial and critical sense as a extremely talented and impressive songwriter, who has dabbled in numerous styles of music as well as becoming a figurehead for female artists in the 1990’s. Departing from the piano-driven ‘White Chalk’, her latest release is in a more folksy- alternative guitar vein. And in a softly sung but poignantly brilliant way, it is her best release yet, and may be one of the most important releases of the year.
As you would expect on an album with the name ‘Let England Shake’, Harvey doesn’t sing happy-go-lucky tunes about boy-meets-girl and there is little personal storytelling from her past. Instead, she takes a decidedly sorrowful yet powerfully driven swipe at her country in this anti-war masterpiece, her thought-provoking lyrics steeped in political angst and her songs packed with anger and sadness.
The style rarely deviates from a folk-esque dream state of malaise, occasionally gathering pace but never losing its focus; an honest and maddened view on the conflicts of this country’s past and present. ‘Let England Shake’ is littered with references to both World Wars and the Gallipoli Campaign, while Harvey herself recounts stories from Iraqi and Afghani civilians experiences in recent history. With each word beautifully and oddly delivered, it makes for an epic war album.
The style rarely deviates from the jangling opener ‘Let England Shake’; Harvey doesn’t hold back as she sings ‘England’s dancing days are done’ and our country is ‘weighted down by silent dead’. The drums of battle herald ‘The Last Living Rose’, speaking of an ironic pride at our country’s demise which is perked up by the saxophones from Blur’s ‘For Tomorrow’, a view followed by the bitterly and hauntingly sung ‘England’.
As well as angry glances at her home country, Harvey packs the album to the brim with sinister imagery and some quite chilling messages. The pacier ‘The Glorious Land’ tells us ‘what is the glorious fruit of our land?/It’s fruit is orphaned children’, while the steadily moody ‘The Words That Maketh Murder’ painstakingly tell Harvey’s experiences and ask ‘what if I take my problem to the United Nations?’. ‘Bitter Branches’ furiously spits a warning of spreading conflict, while the touchingly delivered ‘Hanging In The Wire’ and the thumping ‘The Colour Of Our Earth’ provide a heartfelt tales of the desolated WW1 battlefields.
On musical terms, ‘Let England Shake’ is a beautifully delivered minimalist epic, feeding the meaning of the words with a subtle yet powerful backing. The dreamy ‘All and Everyone’ is bone shuddering, while Harvey is almost angelic in her gospel-like vocals in ‘On Battleship Hill’. The album’s triumphant musical moment come on ‘In The Dark Places’, moody and fused with electric guitars but nevertheless sticking to the poignancy of its predecessors and its followers. This is an album that has to be listened to as a whole to be fully enjoyed.
It doesn’t feature hook-heavy melodies or toe-tapping beats, but its brilliance is found within its lyrics. ‘Let England Shake’ is as powerful as an album can get; touchingly poignant tales of war, chilling messages of conflict and thought-provoking reflection on the country as a whole. Fantastically timed with the conflicts of the present day, PJ Harvey may just have the country shaking with this magnificent record.
A brilliant album, really makes you think and here's my favourite track 'In The Dark Places'.
Awards season is upon us, and tonight sees one of the pinnacles of the UK music calender come to our television sets from the O2 Arena, and here's all the nominations and who I think should win"
BRITISH MALE SOLO ARTIST
NOMINATIONS: Mark Ronson, Paul Weller, Plan B, Robert Plant, Tinie Tempah
This is the first opportunity for me to have a small moan about the Brit awards; they are dominated by pop and the votes will reflect that. Technically, if you look at the pedigree and the quality of their releases, the winner of this award should come from ex-Jam leader Paul Weller or Robert Plant of Led Zeppelin. Both have had excellently received recent albums, Weller's last album 'Wake Up The Nation' being compared to his best work with 'Band of Joy' from Plant similarly so. But this award will probably (and not undeservedly) go to Plan B or Tinie Tempah. Just please God, don't give it to Mark Ronson.
WINNER (who I want to win): PAUL WELLER
BRITISH FEMALE SOLO ARTIST
NOMINATIONS: Cheryl Cole, Ellie Goulding, Laura Marling, Paloma Faith, Rumer
I consider this a four-way tustle as it has been a long time since Cheryl Cole could be classed as an 'artist', if she ever was. Her X Factor popularity may win her some votes, but let's hope it goes to the more talented members of the nomination list. Paloma Faith has talent and a couple of good tunes, but I think her weirdness rules her out. Rumer's album is a great listen, a real gem but hasn't had enough mainstream access to put her in pole position for me. Out of the two remaining, both are worthy winners but my preference would be Laura Marling's acoustic beauty over Ellie Goulding's pop perfectness.
WINNER: LAURA MARLING
BRITISH BREAKTHROUGH ACT
NOMINATIONS: Ellie Goulding, Mumford and Sons, Rumer, Tinie Tempah, The xx
A fine selection for this category and hard to pick a winner from a group of differing artists. Goudling has the pop side down, her exposure in the later part of last year assures she will have a strong backing, while Mumford and Sons will surely be a good bet after the widespread success of 'Sigh No More'. As I've said before, Rumer has an exceptional album to back herself up with, while Tinie Tempah has shot to the forefront of the British grime/hip-hop scene and The xx have seen their debut album met with both critical and commercial success. A very hard one to call, but I'm going to go with my favourite of the five.
WINNER: MUMFORD AND SONS
BRITISH GROUP
NOMINATIONS: Biffy Clyro, Gorillaz, Mumford and Sons, Take That, The xx
This is pretty much a foregone conclusion for the wrong reasons really. Take That will almost definitely take the gong, and I cannot argue with the reception the band has received on their live shows. But the re-introduction of Robbie Williams to the band has meant they were always going to be favourites, with their album doing well because of his return to the band rather than for its musical quality. A shame aswell, as Mumford and Sons and The xx should have decent claims after fine debut efforts. The winner for me should come from either Biffy Clyro, now a fully-outfitted and successful rock band thanks to 'Only Revolutions', or Gorillaz, with Damon Albarn's project having gone on to huge things in the past year such as headlining Glastonbury.
WINNER: GORILLAZ
BRITISH SINGLE
NOMINATIONS: Alexandra Burke 'All Night Long', Cheryl Cole 'Parachute', Florence & The Machine'You've Got The Love', Matt Cardle 'When We Collide', Olly Murs 'Please Don't Let Me Go', Plan B 'She Said', Scouting For Girls 'This Ain't A Love Song', Taio Cruz 'Dynamite', Tinie Tempah 'Pass Out', The Wanted 'All Time Low'
In the most pop dominated stage of the ceremony, there is little for a indie/modern rock fan to look forward to. The efforts of Alexandra Burke, Cheryl Cole, Olly Murs, Taio Cruz and The Wanted have all washed over me, with the two songs with the best chance being covers. Matt Cardle with Biffy Clyro's 'Many Of Horror' could be worse I suppose, but Florence & The Machine's Candie Staton remake is brilliant and deserves the award. Don't rule out the pop gems 'This Ain't A Love Song', 'Pass Out' or 'She Said' yet though.
WINNER: FLORENCE & THE MACHINE 'YOU'VE GOT THE LOVE'
MASTERCARD BRITISH ALBUM OF THE YEAR
NOMINATIONS: Mumford and Sons 'Sigh No More', Plan B 'The Defamation of Strickland Banks', Take That 'Progress', Tinie Tempah 'Disc-Overy', The xx 'xx'
Another good selection and it's hard to pick a winner. Take That will be favourites for the Robbie Williams factor, but again I hope it doesn't sway the votes. 'xx' is a fine mellow album, 'Disc-Overy' is a vastly impressive debut effort and Plan B's effort has brought Motown and soul to 21st century Britain. Again, if it was my decision, I would just go for Mumford and Sons, for a terrificly different folky-indie effort in 'Sigh No More' that is still playing on my iPod now.
WINNER: MUMFORD AND SONS 'SIGH NO MORE'
INTERNATIONAL MALE SOLO ARTIST
NOMINATIONS: Bruce Springsteen, Cee Lo Green, David Guetta, Eminem, Kanye West
Following on from the British equivalent, I should argue that Springsteen or Eminem should win this. Springsteen has the long-lasting legendary tag as America's best, while Eminem has put himself back to the forefront of the rap scene in the past year. But Cee Lo Green is probably the most poppy of the nominees with his soulful 'The Lady Killer', and my favourite Kanye West released one of the best albums of the last year. Just again, please God, don't let it be David Guetta.
A more difficult one to call, if only because it tough to choose between two of the pop's princesses; Rihanna or Katy Perry. One of those will surely claim this one, but we shouldn't discount one of the other contestants. Alicia Keys is hugely talented, Kylie Minogue has been at the peak of pop now for around thirty years and Robyn's recent releases have been met with a lot of critical praise. But if the charts are anything to go by, this should go to either of the big ones; it's just a big guess who though.
WINNER: RIHANNA
INTERNATIONAL BREAKTHROUGH ACT
NOMINATIONS: Bruno Mars, Glee Cast, Justin Bieber, The National, The Temper Trap
Dear God. I'd love to say these bands wouldn't florish in the UK, but I can't be sure. The top three are about as diabolical as pop gets I'm afraid; the faux-soulful Bruno Mars, the over-zealous Glee Cast and the sheerly laughable Justin Bieber showing it's not all brilliant over in the States. One of those three is dead on to win, but it would hopefully strike a blow for real music if either the US indie outfit The National or alternative debutants The Temper Trap claimed this award.
WINNER: THE TEMPER TRAP
INTERNATIONAL GROUP
NOMINATIONS: Black Eyed Peas, Arcade Fire, Kings of Leon, The Script, Vampire Weekend
Black Eyed Peas are the worst band in the world, so I'm gonna put that out there straight away and hope that shows that I'm not to fond of them. Thankfully, I think there's better bands with a chance of winning this one so hopefully they won't get this award, they'll get the message and retire immediatley. Kings of Leon returned (somewhat) to their roots last year, a year that Arcade Fire owned with a multi-award winning and commercially successful album and fine festival shows to boot. The Script are still too lightweight for me, and Vampire Weekend are brilliant; just not quite prestigious enough for me at this moment in time though.
WINNER: ARCADE FIRE
INTERNATIONAL ALBUM
NOMINATIONS: Arcade Fire 'The Suburbs', Cee Lo Green 'The Lady Killer', Eminem 'Recovery', Katy Perry 'Teenage Dream', Kings of Leon 'Come Around Sundown'
Not a bad selection again, with a lot covered in here. You've got the pop highlight of Katy Perry in 'Teenage Dream', the soulful bellows of Cee Lo Green in 'The Lady Killer' and a touch of rock/blues in Kings of Leon's 'Come Around Sundown'. There's both the rap and the R'n'B sides of 'Recovery' by Eminem, and to top it off, the indie hums of Arcade Fire in 'The Suburbs'. A good selection and my shout would make it a fine one-two for Arcade Fire.
WINNER: ARCADE FIRE 'THE SUBURBS'
There we have it, I'm predicting good nights for Mumford and Sons and Arcade Fire, and poor ones for Take That and Justin Bieber. Just to remind you these are my shouts to win the Brits tonight, they probably won't and you're more than welcome to agree/disagree/shout swear words at me. And here's the highlight of last year's BRIT Awards, Florence and Dizzee Rascal teaming up for 'You've Got The Dirtee Love'. Enjoy.
It's finally here - the long awaited return of The Strokes is here with comeback track 'Under Cover of Darkness' and here's what I thought of it:
The build-up to this comeback has been dominated by stories of the band being at war. The Strokes apparently have 'undertones of hostility and resentment' within the five-piece, while the four musicians were reported to be less than happy with Julian Casablancas and his solo exploits. This resulted in a take of the up-coming album, 'Angles', being dumped and Casablancas said to have recorded vocals separate to the band. So how has this affected the band's output?
March 22nd will reveal all as their hugely anticipated fourth album hits the shelves; five years after the powerhouse 'First Impressions of Earth'; but for us fans and all interested parties, 'Under Cover of Darkness' has been released to wet our appetites. So what will it be? The epicly charming Strokes that gave us 'Is This It?' and reinvented modern rock and coolness at the same time? Or will it be a damp squib from a band unfocused through in-fighting and well out of touch with a modern audience? Thankfully, it's the first one.
Brimming with optimism and jangling guitars, this sounds like a pacy and earlier Strokes production. Hook-heavy and breathlessly addictive, it has touches of both 'Is This It?' and 'Room On Fire' that ensure it does not disappoint. There is no evidence of battle-within in this track; a fine performance as a light guitar-driven build-and-release comes and goes twice with maximum effect. Casablancas is at his effortless best with a typically Casablancas vocal; slightly whining but brilliantly suited to this modern-rock gem. The Strokes are back.
It's a fine thing to see a band like The Strokes in full flight, and the happy yet confident 'Under Cover of Darkness' is a fine example of them on top form. 'Angles' may have been born in difficult circumstances but if it follows the lead that this taster track has set, we could be in for a treat. The Strokes sound as if they are back with a vengeance, eager to rediscover the audience that might have waned over the band's hiatus.
Casablancas, in unmistakably triumphant form along with his estranged bandmates, sings 'I'll wait for you/Will you wait for me?'. I think you'll find that there are a lot of fans waiting out there for this album, and it carries on in this style, expect to see The Strokes back at the summit of the music scene.
A great track, and here is 'Under Cover of Darkness'.
Already I've messed this up. As part of my New Years' resolutions, I came up with a set of new and interesting features for this blog; one of my main ideas being a classic album from either 10, 20, 30 or 40 years in the past being re-reviewed and brought back to your attention; with one being reviewed every month. And I fail in January. I apologise greatly, but here a bit later than planned is an album which in 2011 celebrates 10 years since it's release:
THE STROKES - IS THIS IT?
It has now been ten years since The Strokes released ‘Is This It?’, and the world is a very different place to what it was in 2001. Of course, that was the year of the 9/11 Terrorist attacks, but in terms of music there has since been a outpouring of R’n’B music, while countless indie bands still fight for their moment in the limelight. But one thing hasn’t changed; ‘Is This It?’ is still every bit a great album as it was back then.
‘Generation-defining’ is a term that isn’t thrown around to often with real meaning behind it, and it takes a lot of time and even more quality to be considered that ten years on. Albums like The Beatles’ ‘Sgt. Pepper’s Lonely Hearts Club Band’, The Sex Pistols’ ‘Never Mind The Bollocks’ and Oasis’ ‘Definitely Maybe’ have qualified to be thrown in with this term, but even then they have their detractors. But, with the gift of hindsight, ‘Is This It?’ still stands tall as one of the best albums of the last ten years and therefore earns this title.
As someone who came to The Strokes later in their career, I missed the initial impact of the album. I missed the excitement that hundreds of young rock fans, looking for something new after Britpop, experienced when they first heard the lo-fi demos leaking from some band in New York. I missed the rush to their first live shows as their reputations blossomed on the underground. I missed NME champion them as the new saviours of music in the early millennium. But all of that is encompassed in a truly brilliant 36 minutes of music.
The confident and endlessly optimistic lo-fi style that made The Strokes is evident from the first note of every song; the chilled and simplistic ‘Is This It?’ is as close to a perfect song that there has been in the past ten years, ‘Barely Legal’ powers along fantastically and ‘Take It Or Leave It’ is a guitar-driven toe-tapper. The Strokes’ reputation was built on a combination of instantly gripping guitar hooks, a charming fuzzy production and the now exemplar vocals of Julian Casablancas.
‘Is This It?’ gave birth to many of the early indie anthems; ‘Hard To Explain’ is worth its billing as NME’s 3rd Best Song of the last decade, ‘Someday’ is blissfully optimistic guitar rock and ‘Last Nite’ is an anthem custom made for the emerging music crowd of the 21st century. ‘Soma’, ‘The Modern Age’ and ‘Trying Your Luck’ are along the same lines; immediately classics in their own right for their bold re-writing of modern rock that sees this album set the benchmark for hundreds of bands since. The best moment? Well that comes in the exhilarating ‘New York City Cops’; moody guitars, pacy drums and an anthemic chorus topping off an album of immense quality.
The Strokes have gone on to release the tepidly-received yet pleasing ‘Room On Fire’ and the album that cemented them as a modern rock titan, ‘First Impressions Of Earth’, but they will not better ‘Is This It?’ and only a very select few have come close. The confidence, optimism, addictiveness and sheer charm of this album make it a true classic of its time.
Still a great album, I cannot believe it took me so long to get into it. But I'm well and truly hooked now, and here's my favourite track 'New York City Cops'.
It has now been ten years since The Strokes released ‘Is This It?’, and the world is a very different place to what it was in 2001. Of course, that was the year of the 9/11 Terrorist attacks, but in terms of music there has since been a outpouring of R’n’B music, while countless indie bands still fight for their moment in the limelight. But one thing hasn’t changed; ‘Is This It?’ is still every bit a great album as it was back then.
