MAKING PROGRESS
The Rakes - Klang!























The curse of the third album has affected a number of bands as of late. The Kaisers have pretty much fallen from their position of golden boys of indie disco after "Off With Their Heads", My Chemical Romance and Fall Out Boy have become the targets for all hatred of emo, Bloc Party's "Intimacy" dropped under the radar about a week after release as did Razorlight with "Slipway Fires" and The Futureheads with "This Is Not The World". Of course, the "curse" used to be for the second album, but it appears that with so many bands upping their game for their sophomore effort, they fall at the hurdle for their third. The Rakes' debut "Capture/Release" is an undeniable modern classic, follow-up "Ten New Messages" was harshly criticised upon release but was still distinctly average. Now, with new album "Klang!", recorded in and influenced by Berlin, it remains to be seen whether the band is back on track.

Any album that begins with the line "Sometimes you can't smell the shit 'til you're in it" is on to a winner straight away, so the signs are good with opener "You're In It", which sounds a bit like "Violent" from "Capture/Release". But from here for a good few tracks, The Rakes turn into caricatures of their former selves. The songs in particular aren't bad, just indistinguishable from the rest of the crowd. The only hope is that they somehow burst into life when played live. The album's lead single "1989" is definitely the highlight up to now. A bonkers burst of energy to throw yourself around the room too along with a "la la la" chorus puts it amongst the best of The Rakes' arsenal. "Shackleton" is just as mad and just as good. "The Light From Your Mac" is built around what sounds like an Interpol bassline and oh-so-modern lyrics about a Mac that will most likely be dated in a few years, though that doesn't stop it from being a tune. "Muller's Ratchet" is possibly the worst song on the album, coming off like The Libertines if they got real and stopped dreaming of Albion and Arcadia, but much, much better. Album closer "The Final Hill" is quite an ominous-sounding anti-institution rant that is the best example of The Rakes' "Jam-meets-Joy Division" sound and shows they still have ideas left.

After a minor slip-up with "Ten New Messages", it would appear that The Rakes are back on their way to the top of the indie pile, even if "Klang!" is just half an hour long. Sure, there are a handful of below-par tracks, but in the age of shuffling and iTunes, they can easily be ignored. They may never hit the heights of "Capture/Release" again, but as long as The Rakes keep churning out nuggets of indie-rock madness then they'll have a long future ahead of them.
ESSENTIAL TRACKS: "You're In It", "1989", "Shackleton", "The Final Hill",
FOR FANS OF: The Jam, Joy Division, The Maccabees, Franz Ferdinand, The Streets, Arctic Monkeys
7

SHE'S AT IT AGAIN
Lily Allen - It's Not Me, It's You

The newly Twitter-addicted princess of pop has returned after two years of being a "celebrity". After exploding on to the pop scene with "Smile", Lily Allen has gone from ska-inflected blogger to the tabloids own version of Paris Hilton/any random party girl to a proper pop star. But the ska influence has disappeared from her sound, and it's for the best.

"INM,IY" begins with the big electropop sounds of "Everyone's At It", surely the best use of sirens since Klaxons' "Atlantis To Interzone". Okay, the lyrics aren't exactly subtle about ABSOLUTELY EVERYONE USING DRUGS apparently. It's sure to get right up stuffy Daily Mail readers' noses, but to everyone else, this kind of shock tactic is a little on the weak side. Coupled with the superb Number One that is "The Fear", it seems like Miss Allen is vying for the title of the "Voice Of The Nation". Based on the first two efforts, she's in pole position. But from here on in, "INM,IY" falls a little flat. Lily certainly knows her way around a couplet or two, for example on the countrified pop of "Not Fair": "There’s just one thing that’s getting in the way/When we go up to bed, you’re just no good, its such a shame/I look into your eyes, I want to get to know you/And then you make this noise and its apparent it’s all over". If you were on the end of that putdown, then I feel sorry for you.

The lyrics and Allen's voice are pretty much the two best point of the album. The music varies from electro pop to Eurovision-esque to music hall, but it's just not that interesting as "Alright, Still". "Who'd Have Known" is just a simple pop ballad of longing, but the melody is taken from Take That's "Shine" and despite that being a classic song, it does nothing to help lift this. "Fuck You" is a pretty obvious attack on George Bush/The BNP/basically anyone right wing. Whilst it's a great sentiment, the excessive swearing is just attention seeking, however catchy it may be.

Apart from a few dashes of brilliance, "INM, IY" is average for someone of Allen's talents. Although she's a better pop star than she is a socialite, she may want to spend a little more time on album number three. Obviously the fact that the album is below Allen's rather high standard won't affect any chart success, but we can live in hope that her next album will be a proper pop classic. Perhaps.
ESSENTIAL TRACKS: "Everyone's At It", "The Fear", "Fuck You", "Not Fair"
FOR FANS OF: Kate Nash, Ladyhawke
5

NEU!
TRACKS - 10.02.09 - The Maccabees, Flashguns, Hatcham Social

The Maccabees - No Kind Words
"Colour It In", The Maccabees debut album, was one of the best British debut of recent times (which mean it was pretty damn good going on the quality of many other first albums that have been released in the last five years). Despite every song having the potential to be a chart hit, the band never hit the heights of, say, Kaiser Chiefs. But now they return, with "No Kind Words" taken from their yet-to-be-released second album. "Wall Of Arms". It's a definite change from the sound of debut, coming on Joy Division; all low bass, prominent drums and a spacey echo on both the guitars and Orlando Weeks' voice. But where The Maccabees differ from Curtis, Hook, Sumner and Morris is the amount of hooks throughout, as well as the typical Maccabees racket that ends the song. It's also a free download, so what have you got to lose really? Get it and be enlightened.
DOWNLOAD IT FROM HERE
FOR FANS OF: The Futureheads, The Cure, The Rakes
9

Flashguns - Locarno and Ro Shambo
This young London-via-Brighton mob are almost like a melting pot of a selection of some of the best bands over the last 30 years. There are elements of The Smiths, The Cure, The Killers and so many more in these two songs, and the future looks bright for them. "Locarno" is a jangly, jittery slice of smooth, synth-infused indie, which could become a big hit. "Ro Shambo" on the other hand, is the perfect vehicle for Sam Johnston's plaintive yet soulful vocals, with the band restraining themselves, whilst demonstrating their talent for creating something as danceable as it is melancholy. They'll go far if they keep to this standard.
FOR FANS OF: The Killers, The Maccabees, Cajun Dance Party
7.5

Hatcham Social - Murder In The Dark and Mimicking Me
It's been 22 years since The Smiths officially split. Whether you're looking for something to fill the void or you can't stand Morrissey, but like Marr then this lot are for you. Comprised of three of the best-named people ever in Tobias & Finnigan Kidd (ex-Klaxons drummer, don'tcha know) and David Javu, Hatcham Social are inspired by children's fiction and 1980s indie, and it certainly shows. "Murder In The Dark" could be taken straight from "The Queen Is Dead". The drums gallop relentlessly throughout the track, the bass is funky and elastic, the guitar sound is as jangly as a bin bag full of 20ps. To add to this, the song has a distinct air of melacholia and its subject matter is straight from the "Morrissey Book Of Songwriting". "Mimicking Me" is pretty much more of the same, and makes for a great listen.
FOR FANS OF: The Smiths
8