Razorlight

Razorlight's eponymous sophomore release doesn't so much reinvent the freewheeling sensibilities of their '04 debut Up All Night as hone them into a more willfully focused pop whole, a mindset that immediately evinces itself on the inviting, Boomtown Rats-meets-INXS-flavored opener "In the Morning." The growing confidence of songwriter/vocalist Johnny Borrell is almost palpable as he expands the band's horizons to include the '50s-rooted influences of "Before I Fall to Pieces" and the Dion-esque "Who Needs Love," the Chrissie Hynde-bred tension of "Hold On" and the sonic fervor of early U2 on "Pop Song 2006." Gratifyingly, that tack has also pushed the rest of the band - especially guitarist Bjorn Agren - towards honing their chops in service of a tighter, yet still playful sound. It may be too easy for seasoned ears to deconstruct the influences here, but by the time this taut, economic collection closes on the high note of the melodramatic "Los Angeles Waltz" even the cynics should be won over. --Jerry McCulley

If Razorlight's debut, Up All Night, was a tabloid tale of rock and roll excess, this is their Sunday supplement confessional. With the bottle drained and the dance floors well and truly ripped up, it's time for Razorlight to sober up and settle down.

Easier said than done. Beneath his misguided bravado, Johnny Borrell is a sensitive soul, and Razorlight finds him loveless, vulnerable and world-weary."Maybe I'll get right out of here, All the way back to Turnpike Lane...Find me a girl that can calm me right down" he ponders on swooning album closer, "Los Angeles Waltz".

This is a surprisingly mellow record, considering what came before. Raucous power chords are out, allowing Björn Ågren's impressively precise, chiming fretwork to take centre stage. At 35 minutesRazorlight is a frustratingly fleeting listen, and Borrell's lyrics certainly don't make waves. Nevertheless, as a brother to Up All Night, it makes perfect sense. --Richard Banks

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