The Hours: Narcissus Road
Narcissus Road's cover was designed by Damien Hirst
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Friday, 02, Feb 2007 10:37
A&M Records, out February 5th.
In a nutshell.
Posturing. Studenty. Tinkling. Frustrating.
What's it all about?
This is the band's first album, following up the single Ali in the Jungle and Back When You Were Good, both of which are included here. Other highlights include the track that gives the album its name and Icarus.
If you like pounding tracks where each line full of what the writers think is a powerful meaning, reinforced by a bash on the piano keys, you won't be disappointed. Most of the tracks follow a similar pattern, building to more upbeat numbers by the final third of the album.
Who's it by
This is the first album to come from the band consisting of Antony Genn, who has previously played with Elastica and Pulp, along with keyboardist Martin Slaterry, who was once in Joe Strummer's backing band The Mescaleros.
Formed in 2004, Jarvis Cocker has urged us to "let them into your life" and Damien Hirst - the once controversial artist now firmly part of 'the Establishment' - designed the skull on the artwork, otherwise the band are rather cagey about their past. However, they do say that "they care", though what about is uncertain.
As an example.
"Who's the richest man or woman listening to this tune right now? Who gives a f***?!"
- People Say, though The Hours obviously don't seem to care what is spoken, they've discovered the f-word.
Likelihood of a trip to the Grammys
Maybe four or five years ago when bands like Doves and Coldplay popularised soft indie rock with lyrics "with meaning", but not now, especially with Embrace's England song solidifying the public's linkage of losers with such melodies. However, awards ceremonies are usually behind the trend anyway so be prepared for the unlikely.
What the others say
"They understand what music is for - it's for human beings to communicate with other human beings. It's that simple, it's that important. Let them into your life. You won't regret it" - Jarvis Cocker, formerly of Pulp.
"They might be friends of Damien Hirst but indie duo The Hours are not a couple of pretentious t***s with more style than substance... Instead, the boys make beautiful orchestral pop tunes, with spiky lyrics and their debut album Narcissus Road is a revelation..." - thebiglist.co.uk
"This weary but spirited offering is akin Embrace joining The Church to record under the influence of Spector." - allgigs.co.uk on Back When You Were Good.
So is it any good?
First impressions count, so make of it what you will by a band whose website frontpage lists a "manifesto". Not only that, but one that declares "We mean what we say. Every note. Every beat. Every syllable. We believe it's time for a change. It's time to break the cycle, turn over on to a fresh page." For me, this sounds like the student bar bore who has just read their first bit of social theory and suddenly life has a meaning only communicable through the medium of art.
In case you doubt their sincerity, every meaningful lyric is reinforced by a few musical bars in most tracks, especially in Dive In. Yet by the end of the album, even this is not enough and the interesting questioning of the pointlessness of conspicuous capitalism in People Say is marred by the schoolboy-band use of the f-word. Yes, swearing was once deemed edgy, but that was when people also thought that dyeing hair green and spiking it a foot long was the peak of fashion. Now it's generally seen that the lyricist cannot be bothered to think of anything more imaginative, original or thoughtful and The Hours do nothing to change this view.
Tracks in the first two-thirds are generally the more plodding and Coldplay-inspired, other than Back When You Were Good, which could have been the B-side to Embrace's World At Your Feet. In addition, Love You More got me humming the theme tune to Doctor Who due to its eerily-familiar beat, not something I tend to expect from a song.
Although Ali In the Jungle is a high point and I Need to Know offers a breakaway from the rest of the album's style, there is a feeling of frustration that increases with each listening. Some albums grow on you. I've tried and this one doesn't. It becomes more noticeable that the notes The Hours are reaching for fall just short, you end up willing them to sing that little bit harder to hit those tones. Each track seems like it is building to something that never emerges and this makes for an imminently frustrating listen.
"Dont [sic] be scared, just dive in. Go on, you can do it. Come swimming with us, the water feels beauty!" they declare on their manifesto. Well in this case the water's tepid and the nasty boys from edgier indie bands look like they're going to steal The Hours' clothes from the beach while they're out swimming. And I don't blame them.
4/10 (5/10 if you discount their "manifesto")
Jonathan Richardson