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Slipway Fires (Deluxe Verison)

Razorlight

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Album Review

Slipway Fires is Razorlight's most mainstream release to date, an album that downplays the band's garage rock past for something akin to Snow Patrol's adult-approved pop. Thick harmonies and economical hooks demonstrate Razorlight's growth — they're no longer ripping off the Strokes, having left the swaggering sounds of Up All Night far behind. This is an album of earnest piano ballads and well-scrubbed rock, although the earnest posturing at times gives way to something like "Tabloid Lover," a fun, shamelessly trashy romp that sets up shop in the Bangles' pop palace. Another highlight, "Burberry Blue Eyes" is reminiscent of the Feeling's power pop bounce. [This edition includes a bonus DVD and bonus tracks.]

Customer Reviews

Deeper, wider, longer lasting

I was a little worried by Wire To Wire sounding like Razorlight were going to go all piano-ballad on us but once you hear the whole album it's amazing. I've been following the band from the first album and so I'm glad to say there are great rock'n'roll songs on here like Monster Boots and Tabloid Lover, but then again there are razor sharp pop songs like North London Trash, and songs like Blood For Wild Blood and Stinger where the band sound epic, passionate, just huge. Burberry Blue Eyes is also a classic pop song. There's so much to get into in the lyrics. My personal favourite is 60 Thompson, the best thing he's ever written. The whole thing does exactly what you'd hope they'd do after the pop hits of the last records. Deeper, wider and longer lasting.

A classic

Where does a band go on their third record? deep into the heart of darkness, it seems. Borrell is back on form here, the passion of the first album combines with the melodic mastery of the second. Almost every track is a classic 60 thompson, North London Trash, Hostage of love, The House all absolutely blew me away

Slip-way off and miss-fires

Should have been called 'Promised so much yet delivered so little'. I prefer Slipway Fires as a title but my offering seems more fitting. This is not a classic album, or even a bog standard one at that. It has one moment and that is, for me, the fantastic opener 'Wire to Wire'. Simply put, it is an album of immense self importance, both in terms of its photography and particularly its lyrical/musical weight, which fails to even captivate the ears let alone the mind. Choosing to fade most of the songs out just as they appear to get interesting is an even bigger tease that offers promise of what could have been had the band (or Writer) not chosen to disappear somewhere inwardly Northward. Their previous two albums were awesome efforts leaving this one behind to varnish the glossy web walls of iTunes. I have tried to like this album and have given it more chances than a serious contender for school expulsion, but like most vegetables in Autumn, it simply does not grow well in wet conditions. Heavily disappointing, and I have to say I took it back to the shop and got Viva La vida instead.

Biography

Formed: 2002 in London, England

Genre: Rock

Years Active: '00s, '10s

The British indie rock band Razorlight formed in London in 2002 around vocalist/guitarist Johnny Borrell and guitarist/vocalist (and Swedish ex-pat) Björn Ågnen. Joined by bassist Carl Dalemo and drummer Christian Smith-Pancorvo, the combo recorded several demos at London's Toe Rag studios, and those songs led to radio exposure and the initial stirrings of hype. Mercury Records signed Razorlight in 2003, and the group began recording its debut album amidst a series of hectic (and increasingly buzzworthy)...
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