Sound — 9
Now that Arctic Monkeys have made it to the top, the record labels started taking notes of young myspace bands with a similar straightforward sound. Not that all of them are the followers and are sounding identically... At least not this particular band. The View is a foursome from Dundee, Scotland, wondering around the music scene since 2005. They've had some success before singing a deal like touring with Babyshambles and Primal Scream. No surprise that with such support their debut album Hats Off To The Buskers out on 1965 Records has been a highly anticipated record. Tracks like Superstar tradesmen, Wasted Little DJ's and Same Jeans that made singles before the album was out only warmed up the anticipation, sounding very promising. It took them only two weeks to record their first album, which might seems impossible for an inexperienced band. But listening to the CD you'll be amazed by the effortless way the music goes, they probably had more fun than difficulties creating it. Hats Off To The Buskers was produced by Owen Morris, famous for his collaborations with Oasis and The Verve and it's evident through the crispy brip-pop sound of the record. The music is spontaneous, changing tempo often a few times within the song. There's a lot of energy, that hooks you on right from the first track. The singles from the album may be the catchiest songs and the most potential ones for the charts, but there's plenty of other delights. Face For The Radio is a sensitive acoustic ballad that makes you feel you're overlooking The View's vulnerable side. Too easy to believe, but don't forget, it's only showbiz. That's the only seemingly sincere moment on the whole album though, when the other ballad Claudia is sarcastic. The View are playing with different styles, easily blending them to create something of their own. There's a bit of ska in Chumbawamba-like Same Jeans, jazzy crooning guitar in Claudia, some western in Don't Tell Me. The tracks long enough to afford a break after the second chorus carry simple nice guitar solos. You would find yourself foot-tapping to the songs and even trying to dance, though it's hardly imaginable to dance to any of them. To tease you even more, they added claps to Superstar Tradesman. The last track is a wonderful one to close the album -- it's short and childish, leaving a smile on your face. They didn't make any mistakes yet, they don't have anything to regret about, it's just the right time for a careless mood and that's the best thing about the record!
Lyrics — 9
The lyrics are as straight-forward as the music is and are almost ridiculous. They are silly and fresh, always sarcastic, but not always up-to-date. Like He watches Trainspotting, fifteen times a week/ Thinking it's making him oh so unique from Face For The Radio -- I wonder if there were no other different movies since Trainspotting was out in ***... Kyle Falconer is a frontman any band needs -- you would remember him long after you saw or heard the guy. One of the weird features he's full of is good ol' rolling the tongue. It fits the band's image and style perfectly and definitely creates a seal. He doesn't feel shy to make all kinds of weird sounds when singing, I'm not even talking about endless Ta-da-taps and Doo-doo-woos. These might be not the best vocals on the scene today, but the energy he puts in is incredible.
Overall Impression — 9
The guys made a very enthusiastic approach to the record -- they sparkle with energetic only young bands have. They are very unaffected with sounds like coughing on the background only adding to the cheeky attitude. There's a blast of emotions that Falconer is expressing in all possible ways -- whistling, yelling, swearing. Even though the band has their own style, some of the songs do sound like something from Whatever People Say I am What I'm Not. This may be the merit not of the band, but their producers, trying to sell the record. Fourteen tracks may seem a bit too long for one record, but not in this case. Each peace is individual, full of it's own sounds and vivid feelings.