Ah, album number deuce for The Fratellis, and they're already treading the well-worn path to ennui. Following their rather hunky-dory 'Costello Music' debut, the Scots accept pulled the wool out from our eyes to reveal that they're very not that great. In other actor's line, they've through with a Stereophonics on us.
The parallels between the 2 bands can't be neglected. For a start, circa their number 1 and second albums, the 'Phonics had a drummer as crazed looking as the Scots' Mince Fratelli (I beggarly he's called Mince!). Both bands made fine debuts, Kelly Jones showing signs as a gifted lyrist and Jon Fratelli writing some overpoweringly catchy, indie-rock gems. It all went wrong for the 'Phonics after that (in damage of character), and similarly The Fratellis second album sounds formulaic.
You can read a lot into the championship - 'Here We Stand'. It's as if The Fratellis are saying', 'this is what we do: raucous cake room rock'n'roll ever so slightly bluesy and glam; like it or sod off. This is us. Here we...'
And sure, 'Here We Stand' more than has its share of foot-tapping, catchy moments. However, you can't escape the sense that it's an album furiously cobbled unitedly by nerve-wracking to reconstruct the sketches of their debut.
We produce the same Fratellis tricks here of shifting melodies, major chords, piano jaunts and general backroom-bar beatniks. If that's your lot then 'Here We Stand' will give you your fill. But there's no escaping how lazy a record it sounds.
Lyrically it's pretty much a sham of a criminal record as Jon Fratelli apparently furiously looks towards stadiums and festivals, striving to pen tracks which say something without actually locution anything. He may feature gone on that point on 'Costello Music' but he's way off the mark here.
Though there was nothing particularly strong on 'Costello Music', songs like 'Whistle for the Choir' or 'Everybody Knows You Cried Last Night' at last aegir some signification, unlike most of the seemingly nonsensical musings here.
Electing to self-produce was perchance the group's first fault. There are lots of layered guitar solos and extended outros that a producer would no uncertainty have spliced. Over-indulgence possibly best sums up the record's over-arching feeling.
But let's pull back. It's The Fratellis, and even as the new Stereophonics they'll still delight the masses. 'Here We Stand' is a sot, two-in-the-morning record for the lads. Big sounding, non clever and, devoid of the snappy singles of their debut, it'll quiet please those on the terraces.
Steve Cummins
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