Hats Off to the Buskers

by

The View

Edit

Brought to America by the people who gave us The Strokes and The Libertines, Scottish band The View is a quintessential, supercharged British Power Pop outfit specializing in sub-3:00 slices of controlled mania. Already stars on the other side of the ocean thanks to the catchy hits "Superstar Tradesman," "Wasted Little DJs" and the current "Same Jeans" (I've worn the same jeans for four days...), The View wears it's influences on their sleeves and veddy British they are - Oasis, The Clash, Madness, Squeeze and even T. Rex. Yet somehow the impression I kept getting was that of Herman's Hermits on crystal meth. Not that that's a bad thing.

Spurred on by the fantastic work of lead guitarist Pete Reilly, The View is angst-free fun which could bring back pogoing and other frenetic dancefloor gyrations. Songs like "Dance Into The Night," 'Skag Tragedy" and "Don" are almost epileptic fits set to music - and you can't help responding.

And yet it's the shambling, acoustic "Face For The Radio" that sticks in my memory, perhaps because it brings the goings on to a screeching halt halfway through before they hit full speed ahead immediately following. Maybe we all just needed the chance to catch our breath because The View's "Hats Off To The Busker" is one wild ride.

Climb aboard.

The View are a talent. That's obvious. That their debut album isn't a classic is due to a number of factors; One is vocalist Kyle Falconer (A great name!). He needs to have more faith in himself, be more strident with his self-belief. When he' not trying to sound like Liam Gallagher or the lad from Arctic Monkeys', his delivery is far too polite (my 'polite' way of saying it's wimpy), when it should be high up in the mix, competing on every level with the beefy music.

No shrinking violet, but just not enough earthy swagger, not enough gravel in the delivery. A better producer might help him a bit, but ultimately it's gotta come from him.

More problematic, is the band obviously can't sustain 40 minutes yet. Proof? Two fabulous openers: 'Comin Down' and the excellent single 'Superstar Tradesman'. Bejeez, these lads CAN stir up a pop rage when the mood takes 'em, but unfortunately it's the strength of these two stormers which goes some way to ultimately defeating the rest of the album. Expectations get raised, and when not (quite) realized, leave one with a slightly empty feeling. It's as if they're holding back in case they find themselves outside the fold. Reluctant to break out on their own in case the world turns nasty, but they will have to sometime. Sooner the better.

I feel cruel here, like a tyrannical despot with a cudgel, hitting little pop people for no good reason. Not my fault. Those opening blasts made me hopeful, eager for the rest of the album to be as good, but it isn't.

On the plus side, they have got a sense of humour; check out the insane lyrics to the genuinely punky 'Skag Trendy' or the otherwise dull 'The Don' - but it goes seriously awry on the albums closer, which sounds like 'I Spit On Your Grave' type hillbillies singing by a bayou.

Other plusses? The Oasis-like 'Street Highs' which is a solid song, and the Clashy guitar attack of 'Wasted Little Dj's' (look out for that humour again!), but they're too few and far between.

I have faith in these boys though. The good stuff on here gives cause for optimism, and I strongly believe they have the potential to do something effective and lasting. Here's hoping.