Welcome to Razorlite - the lighter alternative to the well known Razorlight brand - less substance, a bit flat and could induce slight nausea after repeated consumption. It's infinitely more commercial, rife with Americanisms, user friendly language and, most importantly, it's innocuous enough for rampant radio play (apologies for saying basically the same thing a few different ways, it's a bi-product of subjection to the album).Everyone's a winner except the indie kids who actively sought them out but not to worry; there's a herd of bands who wouldn't think twice about wriggling into Johnny's dirty jeans he so readily discarded for his new white ensemble - which is so bright it's blinding. The album, consisting of 10 tracks totalling 35 minutes, is a homogenous affair with catchy Springsteen guitar riffs and increasingly relaxed drums (Johnny even feels the need to cajole Andy Burrows towards the end of 'Who Needs Love' without a hint of irony) all of which evokes the recurring image of young parents bopping about with newborn babies at backyard barbeques. Obviously their target audience now that the all-nighter has ended. If you favoured tracks such as 'Golden Touch' and 'Somewhere Else' from their debut 'Up All Night' chances are you've already bought this album and are happily engulfing yourself in its romanticised pop rock. If you thought the aforementioned were the only low lights of their raucous, passion-riddled debut, best avoid - and pray that no one recalls how you staunchly defended the once fledgling band's dubious indie rock credentials and Borrell's pomp and unmitigated swagger.
