It's ironic that the Kooks took their name from a David Bowie song considering how little they have in common with glam rock aside from occasional yowling vocals. No, these English indie rockers have a unique spin on the acoustic and alternative scene which renders their sound distinguishable from the beginning. Inside In/Inside Out is a gem of a first album, and starts out unconventionally with one of the catchiest and lo-fi tunes on the album, "Seaside." A soulful acoustic piece, "Seaside" lasts one minute and forty seconds, and is followed by the song one would think would be the opener, "See the World." The second track is when we first hear the upbeat, buzzy, piercing guitars which are the Kooks' signature from here on out, and while it's not the strongest song on the album, it's a solid start.
"Sofa Song" was released as a single before the album, and sports Luke Pritchard singing in a lower register than we've heard yet before launching into more yowling--albeit controlled yowling. What makes the Kooks so interesting is their raw garage-rock style smoothed over and polished into cystallized indie rock and tight chords. "Sofa Song" starts a slew of singles, and next up is the short and sweet "Eddie's Gun," highlighting the masterful use of harmony which is another Kooks trademark.
"Ooh La" is an album highlight where the Kooks back off on the unrelenting suniness of previous tracks and melancholy pervades this still-catchy, still-commercial song. It's not like the Kooks' subject matter is original, but the way it's written is brilliant enough and relatable enough that, sticking to their style, they really can't go wrong.
There's not much to say about "You Don't Love Me" other than that it's another solid, if not particularly strong, addition to the album. "She Moves in Her Own Way," however, is a nice relief from power-driven guitar hooks and lets the listener breathe at the perfect time with its laid-back approach to a loving relationship and lazy, sunny days.
"Matchbox" marks a lyrical change in the album to the more sophisticated, and shifts musical themes pleasurably, becoming one of the surprise album highlights, especially the catchy refrain. "Naive" is yet another album highlight in the vein of the slightly less raw, more polished second half of the album, while "I Want You Back" returns to direct, less-pleasing lyrics and misses a catchy hook by a hair's breadth. "If Only" is a punk take on alt-rock, short with simple guitar chords but a surprisingly upbeat chorus; "Jackie Big Tits" is a testament to the band's immaturity. The song itself is good, and is a return to the mellow sound of some early tracks, in particular "She Moves"; however, the title (and chorus) is unfortunate and prevents the song from being taken seriously.
"Sofa Song" was released as a single before the album, and sports Luke Pritchard singing in a lower register than we've heard yet before launching into more yowling--albeit controlled yowling. What makes the Kooks so interesting is their raw garage-rock style smoothed over and polished into cystallized indie rock and tight chords. "Sofa Song" starts a slew of singles, and next up is the short and sweet "Eddie's Gun," highlighting the masterful use of harmony which is another Kooks trademark.
"Ooh La" is an album highlight where the Kooks back off on the unrelenting suniness of previous tracks and melancholy pervades this still-catchy, still-commercial song. It's not like the Kooks' subject matter is original, but the way it's written is brilliant enough and relatable enough that, sticking to their style, they really can't go wrong.
There's not much to say about "You Don't Love Me" other than that it's another solid, if not particularly strong, addition to the album. "She Moves in Her Own Way," however, is a nice relief from power-driven guitar hooks and lets the listener breathe at the perfect time with its laid-back approach to a loving relationship and lazy, sunny days.
"Matchbox" marks a lyrical change in the album to the more sophisticated, and shifts musical themes pleasurably, becoming one of the surprise album highlights, especially the catchy refrain. "Naive" is yet another album highlight in the vein of the slightly less raw, more polished second half of the album, while "I Want You Back" returns to direct, less-pleasing lyrics and misses a catchy hook by a hair's breadth. "If Only" is a punk take on alt-rock, short with simple guitar chords but a surprisingly upbeat chorus; "Jackie Big Tits" is a testament to the band's immaturity. The song itself is good, and is a return to the mellow sound of some early tracks, in particular "She Moves"; however, the title (and chorus) is unfortunate and prevents the song from being taken seriously.
"Time Awaits" opens with a markedly bluesy acoustic guitar before launching into traditional Kooks sound--at this point what the album lacks markedly is greater variety in sound; on the other hand, the Kooks have such an enigmatic sound going that the begged question is whether or not experimentation will deliver for fans on following albums. The Kooks end their album quietly, just as they began it. "Got No Love" is as close as the Kooks get to reflective, and it works. For such a fiery first album, the choice to open and close with melancholy tracks is interesting, but it does offer a sense of closure.
-elln
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