Razorlight: Planet Nowhere
(V2)
LP | CD | DL available at Sister Ray
Out 25th October 2024
Camden upstarts bring the original lineup back together for a no-frills collection of out of this world rock. Sam Lambeth reviews.
“Who writes this shit?!” scoffs Johnny Borrell at the start of a song called Cool People. It’s, if anything, a sign the Razorlight frontman is feeling brave, for any detractors of the tousle-haired frontman’s lyrics could crack their knuckles and have a field day. But on Planet Nowhere, the band’s catchy and endearing fifth album, Borrell has his tongue firmly in his cheek throughout.
Take the persistent, tight thrum of Taylor Swift = US Soft Propaganda, possible contender for best Borrell song title of all time (and, lest we forget, this is a man who’s released a song called Pan-European Supermodel Song (Oh! Gina)). “Well, this sounds like a filler on a Jonathan Richman album, which means it’s probably the best song we’re gonna put on this one,” Borrell sighs cheekily over a jerky, angular guitar motif.
Equally as arresting is FOBF, which dissolves from a stomping intro into a funk-fuelled breakdown, allowing drummer Andy Burrows to show off his commendable drumming chops. And, yes, don’t forget that this is the first Razorlight album to feature the original lineup since 2008’s much maligned Slipway Fires. And while the band’s last record, 2018’s Olympus Sleeping, was a fine collection of throwback indie scuzz, there is something more magnetic and alluring about having the famous foursome together.
Suitably for an album named after something desolate and unreachable, Planet Nowhere is spacious, uncluttered and minimal. Subtle but arresting keyboard zaps decorate infectious opener Zombie Love, without ever gilding the lily. One of the album’s standouts is the rousing Dirty Luck, where Borrell laughs that he’s the guy who sells the record labels drugs over a muscular rhythm section.
The record also packs a hefty punch when needed. Empire Service is fittingly ramshackle, skitting along in a frenzied fashion as Borrell spits out non-sequitors. Lead single Scared of Nothing, meanwhile, explodes from an earworm chorus into a scuzzy finale.
When they dial it down, though, it also shows consistent results. The aforementioned Cool People is a glorious contradiction of swaying jangle pop arpeggios and a potty-mouthed critique of manufactured bands, while the lilting closer April Ends blends mournful acoustic guitars with the kind of rich, melodic chorus that made their self-titled second album such a ubiquitous touchstone during the good old noughties.
From the get go, Borrell and band have been on a mission not to stand still. From threatening to end the group if they couldn’t get the album off the ground to performing the new tracks on an intimate tour, Razorlight’s determination to progress has paid dividends – Planet Nowhere could have disappeared into orbit, but instead boasts a galaxy of great tunes.
[embedded content]
~
Razorlight are on Facebook and Twitter.
All words by Sam Lambeth. Sam is a journalist and musician. More of his work for Louder Than War is available on his archive. You can find his music on Spotify.
We have a small favour to ask. Subscribe to Louder Than War and help keep the flame of independent music burning. Click the button below to see the extras you get!
