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Slipway Fires is preposterous, and in a way I actually wish I liked it more.
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In simple terms, then, the third Razorlight album is utter, utter cobblers.
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It aims at U2, but winds up a ringer for their less-celebrated countrymen.
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If the odd clunker remains ('Hostage Of Love' could be a Meatloaf out-take) Slipway Fires largely sees a return to the introspection of debut album "Up All Night."
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An edgy rock album, reminiscent of Razorlight’s great debut, had been promised but is nowhere to be heard.
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Just when you think the album is sinking into mediocrity, Borrell and company respond with two of the best tracks they have ever put their names to.
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MojoOn 'North London Trash,' 'Burberry Blue Eyes,' 'Hostage Of Love' and the histrionic 'Blood For Wild Blood,' Razorlight have matured beyond bubblegum rock and may yet answer Borrell's prayers for immortality. [Dec 2008, p.100]
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Too bad the performances are so lamely tossed-off. Borrell's quavering vocals feel showy and shallow, while the quartet's glossy guitar pop could come from any crew of faceless studio hacks.
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Despite the grand aspirations and the faux-profound statements peppered among these 11 tracks, Razorlight’s third album falls short of anything they’ve previously done.
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Most of the time, the lyrics are vague and unformed, and when they aren't, the band's lyrical details seem too singularly British to translate.
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Enjoying Slipway Fires requires a suspension of disbelief, a conscious separation between the band's past and the somewhat ludicrous present.
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Between the two best tracks that bookend the UK quartet's third LP struggles an album slighter than the last, which was already thinner than the first.
User score distribution:
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Positive: 12 out of 20
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Mixed: 2 out of 20
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Negative: 6 out of 20
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Apr 23, 2012
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DJCJun 21, 2009
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DaanK.Feb 13, 2009The best album of Razorlight!