Scruffy New Yoik riff loving funsters White Light Motorcade are set for
another take-on of the British public. During a localised attack, centred
around their debut EP release in March, the four oh-so-cool looking geezers
played a handful of tiny gigs. They set the interest levels high, promises
must be held true and so prepare for the come-back, or should that be
come-on?
The band are huge fans of Brit rock and classic power pop and with the extra
cred of Brad Jones (Jellyfish et al) twidling knobs there’s no fear of there
being many duff tracks on the album. ‘This is your life, it’s beating you
down, ‘Come On Get Up’ is the refrain WLM offer up on the lead track, then with just enough time for a gulp of clean air between songs it crashes on, a riotous first five minutes just shoot by. Harmonious and loud, uplifting
and anthemic, exactly what they do best. Whether at home, in the car, in
the crowd you can’t help but feel involved, the smile spread on your face is
one of actual joy!
But then it’s songs like ‘All Gone Again’ or ‘Closest’ which just distract.
They are maudlin Dawson’s Creek, sub-Creed poetry, with the
up…up…down…anthem thing. It was mastered back in the 80s by best
forgotten poodle rockers and it has no place on this album. I have nothing
against a ballad or slow number but after a cracking opening the emergency
stop of tempo is curious. That lost energy is never regained and my
attention was lost.
Yep, ‘My Way’ has cool Ramones hand-clapping and a fist in the air chorus
that no-doubt the guys are in reverence to Slade or Cheap Trick for. But
these drippy no-mettle ballad, anthem things keep getting in the way. My
advice? Edit them out! Skip past ‘Closest’ for ‘Dream Days’ some Led
Zepp-lite eastern promise. Give ‘Useless’ a skip and let ‘I Could Kick
Myself’ play havoc with your hearing.
It is such a well-played and pitch perfectly produced album, the fractious
blasts of garagey pop are tonnes of fun. What confuses, and ultimately
lessened my enjoyment, are the ballad bits. Maybe I’m wrong and the guys
want to be in the softer radio-friendly rawk end of things. But in songs
like ‘Open Your Eyes’ I’m hearing great Replacements style anthemic
choruses, huge Oasis-esque riffs and pop energies which can’t fail to lift
your spirits. Where the weak bits fit I don’t know.
So is this WLM come-on worth it? Yes, if you don’t want to be told how goodlife can be and you just want to get on living it then with handy editing,
you get a blast of refreshingly poppy garage rock. Think Ash or Posies. As
for the slower Feeder/Nickelback moments I don’t think WLM need them. Letthem give you the come-on but as soon as they start talking about beauty orstars, skip them!