Razorlight – Slipway Fires

Review of British Band’s Third Album, Featuring Single Wire to Wire

Nov 24, 2008

The Ego, Johnny Borrell, is back with a pompous yet ridiculously addictive third album that leaves critics predictably declaring it awful.

It seems that a major requirement of being a ‘credible’ critic these days is to slate bands who, god forbid, try to create second and third albums that actually appeal to the wider masses. Razorlight’s Slipway Fires has fallen prey to an utterly predictable tirade of vitriol, perhaps inevitable given the ridiculous hype frontman Johnny Borrell has assigned to the album’s importance.

Forget Borrell’s bombastic arrogance, arguably created by the self-same critics who put him on the very pedestal which they now gather round, poking with sticks, forget the legacy of a stonking first album that propelled them to the skinny-jeans-wearing heights they now occupy, the real question is ‘Is Slipway Fires any good?’

Honest Vocals and RIch Harmonies

Kicking off then, lead single ‘Wire to Wire’ is a great start. A richer more honest vocal from Borrell over a simple piano accompaniment bodes well. Rich full choral harmonies rise like the tide, swelling to a crescendo and falling as Borrell pleads “Love me, wherever you are”. It’s catchy, and haunting.

‘Hostage of Love’ continues in this vein. A simple start, more of a beat this time, over a folksy acoustic guitar. Then Borrell vamps it up, becoming distinctly religious in tone as he goes full throttle: “I am salvation and your herald of sin”. (Actually, the lyrics become progressively more ridiculous, more on this later). But so far so good, it’s interesting.

Glam Rock and Musical Influences

‘Tabloid Lover’ has a super catchy glam rock feel, a quirky little intro and all kinds of myriad influences which come rocketing into your consciousness as you listen – The Who, Queen, The Beatles, Bowie to name a few. Obviously Borrell wants to play with the big boys. Whilst it’s not in that league, this is another big arena tune that keeps things lively.

‘You and the Rest’ is stock Razorlight, with chippy guitars and a great melody which somehow hits something a little deeper, beneath a veil of light indie pop. A heartfelt chorus, and a Freddie Mercury-esque tail end sign off this continued nod to an assumed musical heritage.

Trash and Bad Lyrics

Diverting for a moment to bundle up this album’s stinkers neatly, ‘North London Trash’ is, quite literally, trash. Lyrically hypocritical (coming from privately educated Borrell), dull, unremarkable and saved from sheer pointing and laughing only by the driving glam rock beat, this track is best glossed over even by Razorlight fans.

Jumping ahead, 'Blood For Wild Blood' is pretty dire too, a droning beat and Borrell’s repetitive vocal falling decidedly flat. '60 Thompson', while appreciatively noted by some critics, is pretty unremarkable too, though this time nodding to more folksy 70s sound. 'Monster Boots' is similarly ok, with a fun chorus, though an embarrassing vaudeville-style ending.

The most pretentious aspect of Slipway Fires is the excruciating self-indulgent, angst-ridden lyrics. As if Borrell sits at his desk clapping himself on the back every time he works in another inappropriate, tawdry religious metaphor, or a noun sequence he happened to see in the magnetic poetry lyric writing kit he probably keeps on his refrigerator. But wait… this isn’t supposed to be a Borrell-bashing review. Back to the music.

Satisfying Power Track and Tragic Criticism

‘Stinger’ is much more satisfying, its moody, slow and a little bit thrashy, with a belting chorus. Shifting 180 degrees, ‘Burberry Blue Eyes’, despite the ludicrous title, is a treat: a lighter than air melody with a pacy beat and a great delivery suiting Borrell’s voice. A Beatle-esque fade out finishes.

Bringing the album to a close is ‘The House’, a really quite heartfelt exploration of Borrell’s feelings about his late father. It is tender for that, which makes lavishing criticism upon it all the more difficult, and all the more unfortunate that the track deserves it. A piercing wail from beginning to end, over a uninspiring piano accompaniment, this really should have been left in the musical depths whence it came.

Verdict

Despite its glaring dud tracks, this is an album which does not deserve the spewing forth of venom it seems to have attracted. It’s obvious that Borrell does himself no favours by bragging so prolifically about his talents, but there is talent there, albeit not as copiously as he believes. The good tracks are rich with acknowledgements of some great musical predecessors (if lacking, next to them), light with effortless melodies, moody with pent-up darkness, varied in arrangement, instruments and general weight.

And whether it sells, or whether the critics finally get to gleefully send Borrell sprawling from his pedestal, or not, Slipway Fires is an admirable, pompous and welcome addition to this reviewer’s collection.

The copyright of the article Razorlight – Slipway Fires in Indie Music is owned by Lisa Sutlieff. Permission to republish Razorlight – Slipway Fires in print or online must be granted by the author in writing.