CLUB - FUCKABLE
that explains the band name then. Aren't anagrams great? And as
an opening statement, calling your debut album Fuckable
is a pretty good opening salvo, given that it automatically puts
the wind up more delicate media outlets and suitably ambiguous
The Strange Things team were impressed by Fake
Club when we caught them live in December, and I've been admiring
their singles for the last few months, so there was a fair amount
of anticipation for this album, and it doesn't disappoint. Sitting
somewhere between metal and punk – the riffs of the former,
the attitude of the latter – the album suggests that this
lot could become one of most vital, entertaining bands as long
as they can resist being polished and preened by record label
suits. As it is right now, they are pleasingly DIY in attitude
– this is pretty much self-recorded, self-released and makes
no concession to commerciality, either in terms of pop or rock.
It sometimes has an oddly old-school feel, like the great, heavy
but commercial rock of the 1970s without sounding like a pastiche
or an imitation, and that's pretty impressive. With impressive
performances from the band and lead singer Rosie's throaty, sometimes
sneering, sometimes sexy and always very Lahnden-accented vocals,
this has the feel of something that you'd expect from a band with
rather more years under their belt.
Opener Do What You Gotta Do is a fantastic
start to the album, heavy on the riffing and rocking out but never
losing sight of the need for hooks. There's a Led Zep swagger
and a swing to this that is unusual these days, displaying a certain
'classic rock' influence perhaps. Feel Me
is a track that virtually assures you'll be nodding your head
furiously, while Summer City is another
track that has a fine groove running through it, sexy and rebellious.
This is the sort of thing that is perfect for hot sweaty clubs,
but you could also see this killing it in stadiums.
Bullet Brain is a faster, garage punkier
effort, but still reflecting a pop sensibility in the infectious
chorus. With a fantastic fuzztone guitar solo, this is pretty
sensational. Generation opens up like
a reworked Iko Iko before exploding into a teenage rebel anthem
that's up there with the best of them. Over + Over
is another slamming fast rock number about 'giving up growing
old' (words to live by!).
There's more of a punk sensibility to Beauty Queen,
a belting attack on the trivial fuckwitted D-list celebrities
that dominate our media – they should use this as the theme
tune for Big Brother! Do It Like
Me is a catchy pop rocker that would be a shoe-in
for saturation radio play in any decent world, while Fine
is a riff-laden, sex heavy number.
Album closer Midnight at KOKO shows
that the band are capable of less guitar heavy, more polished
tunes is they choose to be. In some ways, it seems out of place
– which it might have been if positioned anywhere else on
the album. But it's actually a great song, regretfully
decadent and hauntingly gorgeous as it perfectly captures the
essence of the desperation and delirium of a wild, drunken, hedonistic
As debut albums go, this is pretty fantastic. There isn't a weak
track here, plenty that is excellent and a handful of numbers
that you will have lodged in your head for weeks afterwards.
This isn't a band self-consciously trying to reinvent music, but
instead take it back to what music should be – no bullshit,
no fretting about demographics or airplay, just getting on with
it for the sake of it. It's rock and roll, and that's
all it needs to be.