Partly influenced by cocaine, partly written in an aeroplane toilet, The Kooks’ third studio album ‘Junk of the Heart’ has been received with mixed feelings. Some enjoying the added electronics to their laid back pleasurable pop. Others simply calling it ‘junk’.
Admitting their lives had turned into one giant party (“the first two albums, both of them, we were like monkeys, running round, getting smashed”) The Kooks felt as though their latest album ‘Konk’ was ‘stale’, which was not at all surprising seeing as they set the bar so unattainably high with their debut album, ‘Inside In/Inside Out’.
Frontman Luke Pritchard’s vocals are captivating, comprised of emotion and a youthful tone. His smooth and charming inexorable whine coalesces the album’s catchy guitar riffs and steady percussive rhythms, giving it just enough soul for the old-school Kooks fans to be content, but perhaps not enough to immediately win any new fans over. But a few repeats later and the magic of their music really resonates, as Pritchard himself admitted in an interview with Dan Cairns earlier this year. “People will be instantly unsure. I think it’s an album to be lived with for a while. Nobody I have given the record to has instantly loved it. But then you’ll get a call a few weeks later and it’ll be, ‘Mate, that tune – wow’.”
Known, nearly as well for their rivalries as they are their music (Razorlight accused them of copying their style and one incident saw Pritchard kick Arctic Monkeys’ frontman Alex Turner in the face on stage after he got in his way), Junk of the Heart has seen the lads from Brighton follow in the footsteps of their British music counterparts, such as The Wombats and Friendly Fires, experimenting with electronics and adding an array of synths. But with so many pop artists already experimenting with synths and other electronic embellishments, was it a risk or just an easy answer to finding a ‘fresh’ sound?
The ‘happy’ in opening track ‘Junk of the Heart (Happy)’ is pretty self-explanatory with its upbeat rhythm and signature pop-rock style. The keyboard electronics and random chimes work well with the other musical components as they are not overdone and act as a base for the song’s catchy guitar chords and sunny melody.
‘How’d You Like That’ has a bit more of a slower tempo, jerky rhythm and decorative piano base, similar to something that you might hear in a Scissor Sisters song. Throughout the verses, a staccato synth ostinato lies almost at the same level as Pritchard’s vocals. But it’s the chorus with it’s genial guitar riffs and perfectly harmonised vocals that remind us why The Kooks are so damn popular. The musical texture thickens in the fourth chorus with Pritchard’s vocals whilst colourful piano arrangements and bass-like synths decorate the simple chord progressions. ‘Fuck The World Off’ encompasses the same feeling with its melodic chords in the verses and solo guitar shred. The contrast between the rebellious verse and gentle chorus keeps the music interesting as it shows off the groups ability to keep each track full of variation and unpredictability.
The album includes snippets of sixties influences with track ‘Rosie’ best demonstrating this old-school rock’n'roll style. The verses have a mod vibe to them with their creeping bass lines and tambourine beat whilst the chorus sounds like it could have been lifted from any Beatles’ album. The harpsichord solo also adds to the sixties vibe and lifts the music towards the end of the track when all instruments are playing simultaneously.
‘Taking Pictures of You’ and ‘Petulia’ encompass an original Kooks sound of minimal percussion, smooth acoustic guitar riffs and a prominent melody from Pritchard. A sound evident in hit tracks such as ‘Seaside’ and ‘Sway’ from previous albums. The oscillating electric guitar hinted throughout the verses in ‘Taking Pictures of You’ is slowly unveiled throughout the track, with the harmonic layers climbing in pitch and peaking at the end of each chorus, resembling the memorable wavering mandolin similar to the Smiths hit song, ‘Please Please Please Let Me Get What I Want’.
Junk of the Heart has smoothly merged The Kooks electronic experimentation with pop-rock and ‘Runaway’ is probably one of the album’s greatest examples of this. The quick paced synths are muffled beneath the acoustic chords in the verses and the void of guitar in the chorus creates an edginess between the trio of vocals, percussion and electronics. The music becomes enticing and entrancing as all instruments are reintroduced with high-pitched violins soaring above the harmony below, showing the band do still have what it takes to enter this new realm of electronic, contemporary pop.
The pace picks up again in the chorus of ‘Is it Me’ and again the electronics are even more apparent. The lyrics also let the listener inside the headspace of the band at a transitioning time in their careers. With so much success came recklessness and the feeling of invincibility. “I needed someone to guide me, someone to let me know, I could loose it all.”
By this point in the album, some fans may be longing for their original sound of simple unadorned pop. ‘Eskimo Kiss’ partly fills the void with it’s swinging rhythm, warm harmonies, upbeat guitar and a notable absence of electronics, bringing back this sixties rock’n'roll vibe. But you can’t help but wish there had been a little more of this sound on the album, the same sound felt in addictive tracks ‘See The Sun’ and ‘Naïve’ from previous albums.
While ‘Junk of the Heart’ will be absorbed repeatedly through our iPod earphones and in the background settings of summer gatherings, there will be a division between those who are happy with the band for trying something different, and those who feel deprived of their original style.
Either way, the cheeky Poms probably won’t care as their attitude has always been laid-back and cool, just like their music. Just not when it comes to other bands talking trash or getting in their way. Like the closing lyrics of the album say, “No more Mr. Nice Guy”.
The Kooks return to Australia for the first time in three years for their 2011/2012 tour.
30/12/11- Falls Music & Arts Festival (Lorne)
31/12/11- Falls Music & Arts Festival (Marion Bay)
02/01/12- Tivoli Theatre, Brisbane
04/01/12- Palace Theatre, Melbourne
05/01/12- Hordern Pavilion, Sydney
06/01/12- Astor Theatre, Perth
