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Slipway Fires

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 slick pop. Thick harmonies and economical hooks demonstrate Razorlight's growth, while the album's earnest piano ballads and well-scrubbed rock songs target a new audience. For those keeping score, this is also the group's last album with drummer Andy Burrows, who launched a solo career soon after its release.

Customer Reviews

Listenable, but not something's missing.

Don't get me wrong, I like Razorlight, but this album doesn't feel very 'Razorlighty', the songs lack the upbeat sound that was a core component of their previous albums, songs like 'Somewhere Else' and 'Golden Touch' (from 'Up All Night'), 'America' and 'Pop Song 2006' (from 'Razorlight') despite not being very musically adventurous are all somehow memorable, easy to listen to and likeable. The previous two albums were much more poppy. Be it a good thing or a bad thing 'Slipway Fires' has lost that upbeat, poppy feel, and although this in itself is no problem with me, the band isn't pulling off the more 'depressed' sound very successfully. So yeah, buy the album, I think that the songs will grow on you over time, just expect it to sound like a very different Razorlight from the one you previously knew.

You're all wrong

I, for one, am glad razorlight have moved on from the pop rock days of old and become more mature and sophisticated. Borrell has demonstrated his ability to write so diversely on this album and that alone is reason enough to click the "Buy Album" button. Wire to Wire is an excellent single because it documents the change in Razorlight's approach to the way they make music. If this album sounded exactly the same as the first 2 it would have spelled the end of Razorlight as a band, in 50ft high capital letters. However if that sound was the only reason for Razorlights success there is still the remnants of it in certain songs such as Tabloid Lover, Burberry Blue Eyes and Stinger. Overall, a great album and surefire smash hit for a fantastic band of these times.

Their Best Album

Razorlight have previously to me been a band with the occasional catchy record, but on the whole, not a great deal of depth. However, this release is different. The difference is evolution. It is entirely clear that since the recording of their last, self-titled album, the band have matured greatly as both songwriters and musicians, and this new-found maturity is reflected on this album. Although the lyrics may not look into the cavernous depths of the human soul, (as with, for example Tom Waits) they contain a number of great social observations 'Burberry Blue Eyes', 'North London Trash' and 'Tabloid Lover', and also at times, effectively communicate something other than the arrogant smugness that has marred the band's lyrics in the past. One thing than can be said for certain, is that the band wear their influences on their collective sleeves, and that there does not appear to be one second of newly creative material on 'Slipway Fires' - but the way in which they 'rip-off' the past thirty years or so of music is actually thoroughly entertaining and this marked departure for the band; from lightweight jingles to firmly grounded tracks, and a more classic sound, is well worth owning.

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)...
Full bio

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