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1990s - Kicks



1990s - Kicks review


Send "1990s " Ringtones to your Cell 

   Avclub
Franz Ferdinand sparked a post-punk glamfest in 2004, but the group has just added unnecessary gloss onto each album since. Spared by fame and expectations, its Scottish peers in 1990s (frontman Jackie McKeown used to be in a band with Franz Ferdinand’s drummer) take the sound to looser territory on their sophomore album. Kicks retains the self-aware, tongue-in-cheek pop dazzle, but further fuses the energetic silliness with broad, catchy melodies. Like The Dandy Warhols in their prime—or The Libertines anytime—1990s propel their danceable clash of sarcasm and sleaze with bright harmonies and simple choruses. They complement the raw sassiness with lyrics about women, drugs, and rock ’n’ roll, all blasted out of a convertible in southern California. (“Everybody Please Relax” is actually a direct ode to L.A.) As such, 1990s break out some sparkly guitars, especially on “The Kids”; with new bassist Dino Bardot adding vocals, the group layers in a lot of laid-back chanting to slick effect on “59.” The rest of the remarkably memorable Kicks is similarly raw, tight, and funky. 1990s have kept Scottish glam-punk fun, not forced....full text

   Prefixmag
n their lark of a debut album, 2007’s Cookies, 1990s were channeling everyone in the Brit-pop canon from T-Rex to Suede, acting as if the late-'90s collapse of the genre never happened. That they came off as a more fun-loving version of Franz Ferdinand wasn’t surprising: 1990s main man, Jackie McKeown, was the lead singer for Scottish rock cult hits Yummy Fur, which once counted Alexander Kapranos as a member, and the band was created as a bar band that McKeown could play in for fun. But then someone discovered them, and they were signed by Rough Trade.



1990s’ sophomore effort, Kicks, is essentially Cookies: II, with a minor change of focus, from getting wasted in Glasgow to chasing women and getting wasted in Glasgow. The producer is even the same. Former Suede frontman Bernard Butler helms the boards here, giving everything a glittery sheen. Not that either is necessarily a bad thing: Kicks features svelte and punchy songcrafting in abundance and hooks piled on top of hooks.



Bouncy opener “Vondelpark” features an indelible wordless chorus that sounds like the middle-register harmony from a barbershop-quartet singer. The album highlight, the strutting Marc Bolan-on-juice “Tell Me When You’re Ready,” is next. McKeown tells a girl she looks better when she’s “ready,” which could mean any number of vaguely sexual things, but it never gets bogged down by vapid skirt-chasing. Kate Jackson, formerly of the Long Blondes, adds backing vocals to the muscular “Kickstrasse,” a track that finds McKeown equating meeting a woman to planes hitting buildings.

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   Rollingstone
1990s are three drunk louts from Scotland who've got classic American rock & roll running through their veins. On their second disc, the trio pump out tightly wound, Seventies–sounding punk with a dozen near–perfect tunes about American pastimes such as smoking pot on a lazy afternoon ("Vondelpark"), popping Xanax ("Kickstrasse") and moving to California to enroll in Scientology ("Everybody Please Relax"). Their music is often thrilling and endlessly hummable: "Kickstrasse" sounds like vintage New York Dolls, and "The Box" could get any soccer stadium to shout along. British buzz bands come and go, but 1990s have earned the right to stick around....full text

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