Hard-Fi - Stars of CCTV (2005)
Here’s a solid one to start on: not well-known enough to be beloved (at which point I’d be worried about stepping on toes), nor so obscure that no-one knows who the heck I’m talking about.
For those not in the know, Hard-Fi are an English rock band formed in the early 00s, that have unfortunately been on hiatus since 2014. Unfortunately, I was a bit too young for the noughties rock revival (I would have been 6 when this album dropped) so I can’t really comment on how popular or well-received the band was compared to similar, more long-lasting acts such as Franz Ferdinand or the Arctic Monkeys. Around when I first heard this album was when I was going through a bit of a phase with those two bands (and I still love them both, and have their full discographies), and I sort of got this idea in my head of their three debut albums forming this sort of trifecta. You’ve got Franz Ferdinand’s self-titled as this posh, high-class, swaggering album, Stars of CCTV as the working class counterpart, downtrodden and desperate but more worldly and mature, and Whatever People Say I Am, That’s What I Am Not between the two with all this youthful energy, as well as pretty handily representing the middle class in this little structure. Worth noting it’s been a while since I’ve listened to that one, so I’m likely to be completely wrong about it.
Regardless, desperate is where we start with Stars of CCTV and it’s opening track, Cash Machine. The very first seconds of the track do an excellent job of introducing the mood of the song, and album as a whole, with this incredibly lonely harmonica bit, the introduction of this smooth little bassline, and a sudden shift into the first verse with it’s hard-hitting drumbeats and sparse, scratchy guitar. The lyrics kick in, as we begin this story of living paycheck to paycheck and not having enough money to get home after a night out. Between that and some of the soaring strings in the back of the chorus the song sounds just like a tragedy in motion. This continues into the second verse, with the singer’s desperate attempts to find a way home, and lamenting the world and situation he’s in, finally cultivating in the final verse- his girlfriend makes a positive pregnancy test, and he can’t afford the baby, so he has to skip out on her. There’s this real sense of loss in the song, with this character who’s sure he’s done nothing particularly wrong in life but is suffering regardless- he’s tormented by his poverty, made manifest in the form of this ATM. Cash Machine is probably my second favourite track on this album, if I’m honest- despite being well-off enough that I will probably never have to relate to it (privilege checked, nice) it’s still incredibly cohesive and just…sad. Hopeless even.
The album fortunately doesn’t stay this low forever, as we follow up with…Middle Eastern Holiday? Aw shit. The song opens and sticks with this faster, more light-hearted drum line (featuring a small amount of cowbell), and it’s not exactly a positive song but it’s certainly no Cash Machine. It’s talking about a heavy topic, but almost with a mocking tone, condemning the idea of late teenagers signing up for the military without thinking it through. It’s a much more traditional song, and thereby much more forgettable, but still a very solid indie rock track.
We then get into Tied Up Too Tight, and I honestly couldn’t tell you what this one is about. Definitely a lot less dark/political than the last few. The build-up to the first chorus gets longer every time I hear the song, I swear to god. I almost feel like this build-up is kind of too long for the payoff it gets. I was a lot higher on the song when I first heard it, but I just kind of get weary of it the more I do. The verses are pretty repetitive, with this 11 or so second loop of instrumental over and over with the lyrics being the only real change until the prechorus, which takes a full minute to kick in. And it’s not like that loop isn’t interesting, there’s actually a lot going on in it, but it just starts to grind on me. And as I said, the chorus doesn’t pay the build off enough to be satisfying, nor does it deliberately fall so flat as to undercut it and release the tension that way. (a tactic which pays off in songs such as Radiohead’s Weird Fishes)
Gotta Reason is the first track on this album I almost completely forgot about if I’m honest. You mean there’s another track on here before Hard to Beat? Damnit. I don’t have any super strong opinions about it, but between it and Hard to Beat we’re firmly entering the “fun” part of this album. I also completely forgot about the fake out ending, which seems completely pointless if you ask me.
Oh hell yeah, Hard to Beat. Hard to Beat was the first Hard-Fi song I heard, thanks to Spotify recommendations, and the only one I’ve heard in public. It’s cleanly their biggest song, and for good reason, because this song is a fucking jam. Lyrically, it’s nothing special, being a fairly straightforward club love song, but it’s just got this really solid vocal performance, especially with the phenomenal prechorus and chorus, as well as this really fun, if basic, guitar line that’s all brought together by this fuzzy bass that I honestly adore. It’s all just great to sing and groove along to, and I can’t even write all of this without being completely lost in it. Seriously, go listen to this song, holy shit. One of the best rock songs that decade. It’s a song with a prophetic title, however, as the remainder of the album is left with an especially tough act to follow.
We enter a 4-song long period here of tracks that didn’t leave enough of an impact on me such that I basically didn’t know any of them until I relistened to write this post. Unnecessary Trouble is another decent rock song, following in the vein of Gotta Reason, but with added “Whoa-oh-ohs” for some spice. Move on Now is a bit of a turn, as it’s a singer + piano song rather than being a rock song. While being incredibly melancholy (as the genre tends to), it still isn’t anything special- the vocal performance is passable, and the piano line is pretty generic. I do like the little bit of bridge that comes in with a little bit of trumpet and a drum machine, and how quiet the vocals get at the very end.
Better Do Better lands as a better Tied Up Too Tight, with this low, relatively quiet build that makes sure not to overstay its welcome before bursting out into the chorus with the vocals SUDDENLY SHOUTING and then chilling out again but now the rest of the song is amped up. It does have a bit of spice for itself with the bridge, which is a little funkier than anything else on the album. The ninth track, Feltham is Singing Out, is basically fine, though the mix isn’t great as far as I can tell- the vocals in the verses are a little muddied in the guitar line. It is a touch harder a song than anything else on the album- the chorus instrumental reminds me vaguely of The Cranberries’ Zombie, but a good bit higher pitched and sped up. Actually, it’s nothing like Zombie, but it has a similar guitar tone if you know what I mean?
At this point I’m basically living for Living for The Weekend. I just love the intro, with this slowly rising synth and this sudden, stuttered percussion that sadly doesn’t continue into the rest of the track. The feel of the song well conveys that feeling of finally being able to take a load off and party after a long week of work, with a vocal performance that sounds vaguely weary, but still relieved and excited. I also love that the track ends on a fade-out with the lyrics “You and I, going out tonight” repeated, as it sort of suggests in some way that that story continues, though hopefully not directly into the last song.
Stars of CCTV’s self-titled finale is another odd one out, being entirely acoustic, and we’re well and truly back to melancholy here. Stars of CCTV referring to the celebrity of the criminal, with the fame and recognition that comes from a wanted poster or your face on the news. The sense of desperation lingers again in this song, like the infamy is what this person lives for, but they almost hate themselves for it. Maybe I’m reading too much into it, but hey this is an opinion blog, right. Anyway, the music. Outside of the surprisingly varied vocals the song has not a massive amount to offer, though I really like the playful piano in the bridge, as well as the little claps bringing it all together. It is honestly one of the better songs on the album, and nicely bookends the album with Cash Machine.
Overall Stars of CCTV is a solid album, despite its fair number of forgettable tracks. The lows aren’t especially low, and the highs range from great to fantastic. If you’ve gotten this far without listening to it then I’d recommend fetching your streaming service of choice and giving it 45 minutes of your time.
Now that we’re done here, please please please hit me up if you have feedback or just want to ask something, either here or on twitter @Raderph. Thanks for reading, and I’ll see you next time.
