Though the ominous tone certainly stands out among the major keys, water features are better to distinguish McMansions, not variations on this love thing they keep talking about. Despite its profane title and angrily bending blues guitars, on “Fuck the World Off,” in exchange for fucking the world off, the Kooks promise… waterfalls and togetherness. Indeed, only twice do the Kooks try to pass as pissed off (although knowing how cavalierly the British bandy the f-word about, I could be misinterpreting) or anything other than utterly overjoyed with life. By and large, though, they’re in love, love, love and if you’re not, you are seriously missing out.
Energetic and Shins-esque, “Is It Me” is so radio-ready I think I’ve heard it on a commercial already. “Taking Pictures of You” gets sentimental about seduction. Sure, they get a little sexy on “How’d You Like That” (a track that prompted my friend to declare, “Every song on this album is about giving head!”). That chorus more or less covers the range of feeling across these twelve songs. He’s so direct, so damned earnest that you can’t help but wonder if he really once kicked Alex Turner of the Arctic Monkeys in the face. “ I wanna make you happy/ I wanna make you feel alive,” singer Luke Pritchard howls with lovefoolish abandon on the title and opening track. Fortunately, their music gives no clues as to whether they are total assholes these days I’ll assume they remain charming young men until they start another feud with a rival band. Expectedly, everything is a little bigger, from the guitar flourishes to the vocal stamina. 2008’s Konk drew them into the American indie scene, so Junk is their post-success record.
On their third album, Junk of the Heart, there is no more sweetheart who moves in her own way or shines on this time, the Kooks are romancing everyone in sight.
So here’s the thing about the Kooks: their music is some sweet, chewy bubblegum Britpop to wrap your teeth around and they make an excellent soundtrack as summer bows to the color-change fall.
If the resurgence of ’60s pop has taught us anything, it’s that cheery music done well is as Important as its Very Serious counterparts. If I tend to go on about happy-go-lucky indie bands with soaring choruses and bouncing guitar riffs, it’s about fricking time! The dour wailers and dense poets I listened to in youth are fine and all, but frankly, things are going great and I’m in the mood to hear something uplifting thrown in alongside the Very Serious Music that I listen to because it is Challenging or, seemingly at the moment, Important.
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