The Long Blondes are a quintet from Sheffield whose meteoric rise to stardom in the UK is just now reaching our loosely protected land. Led by front-woman Kate Jackson, the chic 28-year old nightingale whose lavish voice and enkindling pizzazz are a hefty feedbag for fat faces to chew a race far more interesting than the 2008 election, as this handsome plum has arisen as a fierce competitor for rock's coolest chick. Outstanding influences on this heavenly rumble of moxie comes from Buzzcocks, Ramones, and the early New York riptide of New Wave, which these rapturous attractions successfully fuse into a well dressed, pretty faced, glamorous cluster of stylish punk.
"Lust In The Movies", deals a jackpot winning hand full of vibrant youths cheering and shouting like CSS sky high on moonshine at a Brazilian pep rally. The rampant energy captured on this zesty zinger is consistent throughout the prodigious debut pile of epizootic wealth, whimsically sparkling like Bis, Le Tigre, Bratmobile wrestling in their underwear at a midnight Mexican fiesta.
Obligatorily, the second slot, close up to the top (of the pops), is reserved for "Once And Never Again," the hugely addictive crossover single like No Doubt's "Just A Girl" or Save Ferris' "Come On Aileen," only these keen kids have a much greater chance of creating lasting art, than those aforementioned California ska skid bands from the mid-90s. 'You're only 19 for God's sake, oh you don't need a boyfriend,' is such an adorable chorus that it makes cautious parents of us all, prevailing as the album's most valuable track. As far as commercial appeal goes, to quote the former CIA director George Tennet, it's a 'slam dunk.'
"Only Lovers Left Alive," is a spectral story of impending doom, a waiting game Jackson plays with a beau after a prolonged absence, proving once again, that even war can't make long distance relationships work. This peppy number, with quick time cymbal scraping underneath a cheerless dispatch of doting nostalgia, matches the friskiness of Franz Ferdinand or Yeah Yeah Yeahs, when they each still had it.
"Giddy Stratospheres" seized the #1 spot on the UK chart, sounding for a smidge of an instant like Madonna's "Like A Prayer" sped up too fast over Blondie's "Heart Of Glass," which the five non blondes shatter through with virginal prestige, erupting in a leviathan-like chorus as if Sofia Coppola's version of Marie Antoinette were spearheading a Paris Hilton prison break.
"Never To Be Repeated" feels as if Justine Frischmann came out of Elastica retirement only to jump, jive, and wail with Debbie Harry at Studio 54 during the late 70s. The synthesizers deliver life to this disco dancer, with lyrics like 'they said it was too easy to be cool,' assuring everyone with the gift of sight and sound that this quantified assemblage of style won't suffer a death anytime soon.
Someone To Drive You Home is simply breathtaking. Its sexy, sassy, smart, confident, even lascivious, brimming with essential qualities that all of the cuts from Sex In The City wished they had. Because Rough Trade loves America more than England, so they have slapped an extra four tracks on the tail end of this marvelous debut, bringing the grand total of prizewinners to sixteen, which is way to young of an age for anyone to have a boy, or a girlfriend. Just ask Romeo, or Juliet even, if she isn't sleeping.
"Once And Never Again"