Album: Kick
Album Length: 49m33s
Release Date: 06 March 2006
Country: London, England, United Kingdom
Finn Vine (vocals)
Jasper Milton (guitar)
Owen Dyke (bass)
Taxxi (keys)
Edward Harper (drums)
Want your hair to do that flippy thing like the guy from the band could do, probably these guys from White Rose Movement could give some advice. No, definitely not talking about Emo. White Rose Movement are heirs to the exhiliriating electroclash movement, which means that it's all about being retro, stylish and essentially - dancing. and this, of course brought me to their arty hairstyles that varies from spiky haired in kung-fu boots doing "the robot" dance to the Fischerspooner, to the likes of flippy front curtains of hairs like Bandon Flowers and the guy from Bravery.
Almost every track on Kick plays up a handful of retro electro-80's tropes and they deserve a credit for not trying to mask their frequent hero-worshipping to Depech Mode and Joy Division. The title track, "Kick" gets things off to a fine start, seductively merging distorted guitars with some deliciously dark synth while the femm vocals of Finn Vine produces an attitude with his constant yelps and screams. "Girls In The Back" would probably get your flippy hair thing going on and you legs jiggling on the dance floor with the trance breakdown and the sing-along chorus. The album peaks at third track, "Love Is A Number", which is their most applaused single out of the album. Even Bloc Party's Kele wish he'd written this song. The cohesion of electronica and effortless guitar buzzes with heavily trampled rhytm, the outright catchiness and the vocal punch is what this song is all about, and it seemed everything falls in the right place for it to work. "Alsatian" is their hard-rcok approach to their musical styles, relying on piling vocal effects and building guitar riffs until reaching the chorus. "London's Mine" is viperous, speeding and definitely spinning while "Idiot Drugs" lives up to what the title implies: totally dumb and trashy, makes you spin into nowhere and eventually collaps on the dance floor. "Speed" gives another high to the album with it's edgy hooks and the trance breakdown where everything cut out except the electronic drums. "Cruella" closes the album sounding too much like the remixed version of Bloc Party's "She's Hearing Voices" on the beginning with the measured drummings and the dub-dub-dub chanting.
Kick is definitly not original in every way, yes; because New Wave or electroclash is only is going to get as far as this musically, it's all been-there-done-that. Listen to Depeche Mode or Joy Division, how about the Killers and The Bravery - yeah they all sound pretty similar. However, Kick came out with strenghts of it's own conviction that contains some remarkable songs; nicely executed for a debut that blends in different genres of music, while remains true to their musical style. This album is highly infectious, and it need a surround sound speaker to make it come full cicle, well actually my Sennheiser HD212Pro works just fine - sending jolts to my senses while it's pounding rentlessly to my ears.And this is exactly where I need to get back to my comment about the hair-do thingy I mentioned earlier. The thing about electroclash is that Style always always comes first than Content. Having said that clear, I would like so totally give White Rose Movement a big fucking A+ to their hair-dos but the content of the album...er..nay probably not; that is what you find on first listen is probably as much as you're going to find at all after repeated listen, but then the first time round would offer enough pleasure and experience to make you want to listen more. I mean.. If they spend half as much writing music and perfecting it than they do on their hair style, this album would be totally awesome.
Beaker's Verdict: A-

Artist: The Kooks
Album: Inside In/Inside Out
Producer: Tony Hoffer
Album Length: 40m51s
Release Date: 23 January 2006
Country: Brighton, United Kingdom
Band Members
Luke Pritchard – lead vocals, rhythm guitar
Hugh Harris – lead guitar
Max Rafferty – bass guitar
Paul Garred – drums, percussion
It all seemed that the British Invasion 2 that begun last year has slowly died down in 2006, not many bands, if any has emerged successuflly from the scene to make an impact. The Brighton based lads, The Kooks is probably one of the best British act that has came out this year with their raunchy debut Inside In/Inside Out suggesting no intention to continue the invasion influx, if only. The Kooks' style isn't too hard to pin point, unlike any recent indie brits, The Kooks' music are somewhere between bouncy Britpop and acoustic driven anthems, somewhere between raw and polished and somewhere between pop and indie.
Album opener, "Seaside" is an acoustic mid-tempo love song that shows the crisp clear vocals of lead singer, and the main selling point of the album- their accent. Stand out tracks such as "See The World", first single "Eddie's Gun" and "You Don't Love Me" crests on waves of fizzy guitar pop and heavy drum beats, that became the moments that brands The Kook's musical style. Mellower tracks like "OOh La" and "Naive" both offer bouyant and catch singalong chorus that no one could possibly hate.
Where there is a new band, there will be comparison made. The Kooks music probably resembles back to Razorlight's 2002 debut Up All Night. Songs like "Eddie's Gun" bristle with the dynamism of Supergrass. Inside In/Inside Out is probably a mixture of what their peers have done, and remastered, AND this is where this album came in great, but at the same time it became a main weakness for the band. And one thing that deducts the rating for this album is that it doesn't not have a dynamic flow between tracks; song after song, there is no certain direction where it's going making the album flat, and loses it's charm. Nevertheless, their exuberant youth and adolecent has made Inside In/Inside Out an easily accessible album; meaning it reaches out to public but at the same time remains personal. It's like a blog.
Essential Listen: See The World, Ooh La, You Don't Love Me, She Moves In Her Own Way, Naive
Beaker's Verdict: A-



