In response to FJs previous post about the disagreement over Razorlight, I am going to print verbatim an e-mail I sent to Ash when he asked for my thoughts on the gig:
"Well, hate is probably a much stronger word than is required. I didn't loathe anything. They're a decent band and the songs are OK (though not compelling enough to make me buy the CD).
The real issue is that I don't get it. I understand why they are popular with the citizens (he has a baby face and they're charismatic as hell), but I don't understand why critics or DJs or any serious consumers of music would regard the band as ingenious or exciting or whatever have you. Swaggering rock 'n' rollers nicking blues and punk gimmicks and jumping around shirtless while playing "off the cuff" are a dime a dozen. And while I occasionally like bands that do just that, I don't think Razorlight pulls off this gimmick with any more precision, style or verve than the hundreds of rock quartets slugging it out on the club circuit here. I also found the jamming to be quite irritating because I expect most bands (and especially the young upstarts) to deliver performances with brevity and force. It was all just too casual.
Now maybe I'm out of touch with this kind of music or the "youth" scene that buys it (wouldn't that be sad), but if that guy Johnny really does have some gift as a modern songsmith and performer I don't see it.
Personally, the strangest part of this gig is that it's the first time I've truly disliked a band that FJ wholly endorsed. With the exception of the Smiths, NewOrder and the industrial stuff, most of the bands I listen to now are groups he played for me first. We're 99% on the same page about whether a group is good or bad and why. But Razorlight is the first time I've found myself thinking, 'I don't know what you see in this.'"
That's all.
11 comments:
I have to agree with Brandt almost all of his points. However, I LIKE the band a lot - Catchy, tight, charismatic, solid tunes - they're a good time. Do they deserve all this buzz? Not for me to say.
I remember playing tunes in my car with F and Robin one night and The Strokes came on and then the Velvet Underground, and F said that he can't stand The Strokes and was more or less amazed that I could listen to them knowing I'm into The Velvets (and of course, F got me into them). What's funny is that Mr. Razorlight IS Lou Reed, way more so that Mr. Interpol is Ian Curtis, for example. The Strokes (at least first album, haven't heard since) also write solid tunes for a "good time". Neither Razorlight or The Strokes posture themselves as original or groundbreaking, so there's no problem there, since it's all about intent, right? It's the press that does it; just make sure you don't dislike a band cause the of the press, Brandt. I enjoy music so much more now that I stopped reading something as high-brow as the The Wire or "low-brow" (relax, I use it loosley) as The NME. I still check out/listen to music from both extremes (I probably hear more from both extremes now) but there's no preconceptions going into it.
I liked the casualness of Razorlight. A lot. They're so tight that they could break it down, goof off, and SLAM back into a track. That takes a band who know each other really well, unlike an Interpol (who I truly truly enjoy) who, if they deviate for a second, run the train off the rails.
Rhythmically Razorilight are VERY interesting. The way that first track on the album kicks in is fantastic. And they pulled it off perfectly live, albeit with a slightly different arrangment.
I must say though, Irene, who's musical knowledge is VAST and who is brutally critical (my kind of girl ; >), marks for Razorlight HARD, and THAT I really don't get.
Charismatic front man: check. That's the only good thing I can really say about this band. Their music is just plain boring. As always, I did enjoy gigging with Poon and the Mogpac but don't feel an ounce of excitement about this band.
D'orge
I just want to add a kudo to Liz for pointing out that the drummer IS Rocky Dennis from Mask.
d
There's not much I can argue with regarding Brandt's feelings. That's how the guy feels, and you can't do much about it. You can’t change people’s minds. I bring up his "hating it" because that's exactly what he said to me at the gig. If there are "hundreds of rock quartets" out there doing this, then I'm missing a lot of great bands. I wouldn't exactly call Razorlight part of a youth scene, as we seemed to be some of the youngest people at the gig. As for the casualness, that's exactly what I liked, that they had the confidence and NOT arrogance (i.e. Interpol) to expand on the songs and put on a solid rock show. This is all a taste thing. I have never said Razorlight was "ingenious", I just think the Borrell’s talent to write and perform good rock music, especially in the landscape of the current world of music, stands out. Again, you can’t argue. There’s obviously a division here, and kudos to all for handling all so intelligently…
Ash's comments about the things he does like about Razorlight reflect my own reasons for liking them. Also, I think Borrell is a great singer who writes lyrics that seem like chapters in a story (i.e. Lou Reed), are intelligent, and yet never alienate the casual masses. As someone who has been writing lyrics for a decade plus, lemme tell you, that’s hard fucking work. He paints an interesting picture and I think people relate to that and the energy. Like Kasabian, Borrell feels real, and I like that in a musician.
For the record, Brandt is off on his figures. We are not 99% on the same page, we are 98% because the Sudden Soul Man's new favourite band Johnny Boy, makes me feel the same way he feels about Razorlight in that I don't know what you see in this way. Great production, boring tune (I've tried so hard to like this just for you, Brandt). However, I hold final judgment till I hear the album and/or see them (I only call this out as this is all happening at the same time and, of course, to stir debate). To answer your questions about what you are missing Brandt, I think Ash can answer these things better, as you sound just like him about 7 or 8 years ago.
On to Ash's comments regarding my feelings on The Strokes. I'll focus on this incident he refers to where I compared them to the Velvets (which I remember very clearly). I'll be Frank: I think The Strokes are a joke. Based on that incident in Ash’s car, I went and listened repeatedly to that first album and I saw nothing in there that suggested any talent beyond that of certain former guitarist I know (read: limited). No depth. No soul. Ash, you can get all technical, and tell me how they MEAN to sound like this, that or the other, and I’ll believe you, but you'll never convince me it’s good music. Even if it’s a premeditated thing, they are fucking boring and that singer is a joke beyond all comprehension.
My only real comparisons between them and the Velvets is the approach to the sound and production and the fact that they are from New York. Nothing more. The Velvets were only Lo-Fi on that first album because they didn’t have the fucking resources to make a polished album. Listen to the Velvets LOADED. That’s what Lou Reed wanted. All the Strokes are doing is imitating a sound. What they forgot was to listen to the songwriting. In retrospect, The Strokes were trying to be a band from the mid-late 70’s NY CB’s scene. And that, visually, was appealing to the masses. It hadn’t been done and they were able to really bank on that (and they continue to do so in Europe, which eats that kind of shit up). Also, if anything, The Strokes have always had the financial resources to buy the foundation (and clothes) they have built their career on. It was a brilliant strategy. If we had that money, we’d be on the cover of the NME. Seriously. “Hiiiiiii, Dad”
The second STROKES album tanked, cause like Interpol, the band couldn’t think beyond that initial sound nor do they have the talent to progress. Interpol is even more frustrating cause the first album WAS good, but the second album, VASTLY overrated in the British press (NME is the most guilty) had only one GREAT song. And talk about Velvets rip-offs, the opening track on ANTICS is the same drumbeat to the Velvets VENUS IN FURS. As I have stated before, they should have spent more time working on the record than they did spreading herpes. I think Brandt would agree with me on this.
Dig it!
F
To weigh in on the debate: I am no huge fan of Razorlight although I love “Golden Touch” and after listening to a few of the other songs a hundred times (“Rip it Up,” etc.) I like those too. I mostly wanted to go to the show because the band seems energetic and there are two Swedes in it and the lead singer looks like he doesn’t wear underwear. And I got what I wanted. I think the problem comes from the fact that they are so bluesy (not soulful: see below) and bar band-esque. None of the hipster loucheness of the Strokes or Interpol (whose 1st albums and live shows I really enjoyed). Like the Mekons, Kings of Leon, and other bands making it big in Merry Olde right now, they are quite populist and some people are not going to be into that. The biggest buzz band in states right now is The Arcade Fire and if you listen to that album, you will see exactly what I mean.
Bottom line is you can’t go into these shows with too many expectations. I saw Death Cab for Cutie live once and was bored stiff, but I love their music. I saw Built to Spill who I never got into, but I had heard were some kind of indie music revelation and was surprised to discover that they are a FUCKING JAM BAND! I am snob enough to admit that that doesn’t translate as cool to me. Even if it is good music, I just can’t connect to it.
Re: “soul.” I can not deal with this word being bandied about without some serious clarification. And until I get a mix, Greg Dulli does not count. Remember the Commitments…
As you know Fuss, I love me some Greg Dulli, but I wouldn't consider what he does soul music either. He grew up on soul music and it influences his work to this day, but the man makes rock records. Is their some kind of "soul" movement going on now that I was unaware of? For christ sakes I haven't been in Queens for more than three days and already I'm losing touch.
Three points:
1. The soul we're speaking of here is the literal kind: Motown, Stax, Phil Spector, Otis Redding, Eddie Floyd, The Ronettes, Leiber And Stoller, etc.
2. The reason we're discussing this is twofold. During a post-show discussion about Razorlight, Irene made the point to me that Borell comes from a blues background and suggested that this just might not be my thing. Which it isn't, as I grew up on soul (plus some funk) and always found myself bored to tears by 95% of blues music.
Two, because of this background I've been waiting years for a contemporary band to revive/update the classic Spector soul sound: big choruses, clanging bells, Wall Of Sound et al. And I found this duo out of the UK called Johnny Boy doing just that, and its fantastic. Now I'm as skeptical of their long-term potential as anybody because they're operating on the strength of one song produced by a star who isn't working on the album (James Dean Bradfield of Manic Street Preachers). But what a helluva song. FJ, however, isn't wowed by it the way I am.
3. What warrants the sudden soul man, exactly? First off, my parents raised me on real music: Sam Cooke, Memphis Horns, etc. I own more soul vinyl from the '60s and '70s than Wax Trax! LPs. And what do you think I was buying when we were in the UK? Not industrial discs, dude.
Let ME be frank: the music industry is oversaturated and empty. It is at easy for any old hott douchebag to become famous and really hard for great songwriters and musician to get any recognition. Because you guys love music and live music like the awesome (and ghey) peeps you are, you are forced to lap up this whatnot and delude yourselves into thinking it’s genius.
Question: how can music be post post-modern (or is it pre post-modern)? How can someone try to capture the feel and rebellious nature of punk by just recycling its sound in a time when that formerly “unacceptable” music has become canonized and made classic and totally acceptable? Aren’t I automatically a ghey-wad if I wear lace corsets and sing about being a virgin…because that was so shocking (and yet completely popular) 20 years ago?
Where are the bands whose sound and lyrical content is addressing, attempting to change or even documenting what is going on now? There is still musical elitism and sexism and a whole host of whatnot, but no one is going past the surface of the original sounds to do something new in reaction to the groundbreaking geniuses of the past.
P.S. I did not see this show.
P.P.S. Can't wait for Kasabian.
I'm not that smart. But I agree. Razorlight blows and I can't wait for Kasabian. G? I-man?
D'orge
I am pretty sure that was Barranc. And she is absosmurfly right.
Also, Jonny Boy kinda sounds like the Concretes so check out those Swedes if you haven't already. Finally, no one does melodic pop with a touch of soul like Tahiti 80, my favorite band in the whole world.
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