PopMatters is moving to WordPress. We will publish a few essays daily while we develop the new site. We hope the beta will be up sometime late next week.

The Kooks: Konk

The Kooks step into Ray Davies' studio, name an album after it, and come away with a disc full of punchy riffs, chords, and provocative lyrics.

The Kooks


Label: Astralwerks
US Release Date: 2008-04-15
UK Release Date: 2008-04-14

The blokes from Brighton are back with their second album, Konk, the follow up to 2006's Inside In/Inside Out. Their latest effort finds The Kooks picking up where they left off.

Scratch that. That's not entirely true.

The band is still scarily good in spite of being relative youngsters with band members' ages ranging between 21 and 23. Musically, they've maintained the same sound as on their debut, just a more finely tuned version of it. Then again, what would you expect from a bunch of former Brighton Institute of Modern Music students?

What has changed is that on this go around, the quartet loses a good chunk of the wacky, youthful delirium that marked their first album, replacing it with manic-depressive mood swings that rear their Sybil-like heads on nearly every track. The other ingredient missing on Konk is bassist Max Rafferty who quit the band in January of this year. Filling in, at least temporarily, is Dan Logan of yet another Brighton band, Cat the Dog.

Named for a David Bowie song, The Kooks share Bowie's penchant for an eclectic melding of various genres and moods to their distinctive musical pastiche. True to their name, The Kooks are quirky and hard to pin down, jumping all over the musical map. One minute they're serious, the next they're all jangly chords or short, sparking riffs that catch fire and burn through the material, thanks to the guitar work of Hugh Harris.

Though they tend to elicit comparisons to the Beatles, Oasis, and a few other noteworthy Brits, in the grand, high school yearbook of rock, it would seem that the class prophecy has appointed the Kooks inheritors of the mantle previously borne by the Kinks. All but directly given the blessing of Ray Davies, whose Konk Studios the namesake sophomore effort was recorded at, the Kooks turn evidence of this at several points throughout the disc. "Mr. Maker" could easily be a direct descendant of "A Well-Respected Man", albeit without as much of the duly-noted smarmy humor of the Kinks' classic. Even the disc's cover art could be a '70s hand-me-down with its grainy color photo of the group huddled in the doorway of the studio and their name emblazoned in simple, retro block print in the upper corner.

Although their sound is a mash-up of several well-blended ingredients, that sentiment of mixed tempo and emotion extends towards the Kooks' musical and lyrical composition. "See the Sun" is perked up by unexpected hand clapping that goes on as lead vocalist and lyricist Luke Pritchard declares, "For all the times I never, never turned away / And now she's here on someone else's arm", capturing the moment of simultaneous regret and epiphany that strikes in the midst of pleasant reverie.

In a similar vein, "Tick of Time" finds the Kooks summoning forth the Beatles' knack for harmonies and the Fab Four's sense of warping a song's music to fit the feel of its lyrical tone. Borrowing a pinch of the Police's reggae-rock, the track is propelled by the persistent pound of a kick drum and crisply staccato acoustic chords shot through with the glimmering trill of tambourine mimicking the mental beat of reflections on the root of lost love.

While lyrically, Pritchard's songs on Konk veer towards the early Cure side of the track -- treading, but not fully immersed in the waters of Robert Smith-sponsored, "Pictures of You"-variety manic depression. Instead, the Kooks offer a more easily accessible -- but no less honest -- version of a peek inside an emotional window, minus the flowery Byronic poetry.

What steers the Kooks away from turning into a bunch of downers on Konk is the lack of controlled emotion usually heard in mainstream pop and indie-rock. Even in their darkest hour, bemoaning "What did I do / In a past life / To deserve this", there's something that sparkles and fizzes in the band's musical delivery that zings with cheery optimism and an aura of good cheer.

Preventing the Kooks from falling into a downward spiral is the healthy dose of ego, self-esteem, and self-awareness that punctuates Konk and keeps things real. "Do You Wanna" reeks of sexy swagger, swinging from posing the question "Do you wanna / do you wanna make love to me?" to turning the tables into an imperative insistence that "I know you wanna / I know you wanna make love to me", all in the span of a single chorus. By the same token, the disc's lead single, "Always Where I Need to Be", flits between the past, present, and future of a love affair, eventually coming to the conclusion that "I'm a man on the scene / I'm a man / And I can be so obscene", finding a loud and proud voice that banishes the self-doubt which usually accompanies relationship-related confusion.

In an era of canned angst with all the sentiment of a Hallmark card, the Kooks' parlay their mixed feelings on a myriad of subjects with a strong sense of sincerity, finding the sunny side to melancholy and frustration or a splinter of wistfulness lodged somewhere within a good time.


Please Donate to Help Save PopMatters

PopMatters have been informed by our current technology and hosting provider that we have less than a month, until November 6, to move PopMatters off their service or we will be shut down. We are moving to WordPress and a new host, but we really need your help to save the site.





Peter Guralnick's 'Looking to Get Lost' Is an Ode to the Pleasures of Writing About Music

Peter Guralnick's homage to writing about music, 'Looking to Get Lost', shows how good music writing gets the music into the readers' head.


In Praise of the Artifice in George Cukor's 'Sylvia Scarlett'

George Cukor's gender-bending Sylvia Scarlett proposes a heroine who learns nothing from her cross-gendered ordeal.


The Cure: Ranking the Albums From 13 to 1

Just about every Cure album is worth picking up, and even those ranked lowest boast worthwhile moments. Here are their albums, spanning 29 years, presented from worst to best.


The 20 Best Episodes of 'Star Trek: The Original Series'

This is a timeless list of 20 thrilling Star Trek episodes that delight, excite, and entertain, all the while exploring the deepest aspects of the human condition and questioning our place in the universe.


The 20 Best Tom Petty Songs

With today's release of Tom Petty's Wildflowers & All the Rest (Deluxe Edition), we're revisiting Petty's 20 best songs.

Joshua M. Miller

The 11 Greatest Hits From "Greatest Hits" Compilations

It's one of the strangest pop microcosms in history: singles released exclusively from Greatest Hits compilations. We rounded 'em up and ranked 'em to find out what is truly the greatest Greatest Hit of all.


When Punk Got the Funk

As punks were looking for some potential pathways out of the cul-de-sacs of their limited soundscapes, they saw in funk a way to expand the punk palette without sacrificing either their ethos or idea(l)s.


20 Hits of the '80s You Might Not Have Known Are Covers

There were many hit cover versions in the '80s, some of well-known originals, and some that fans may be surprised are covers.


The Reign of Kindo Discuss Why We're Truly "Better Off Together"

The Reign of Kindo's Joseph Secchiaroli delves deep into their latest single and future plans, as well as how COVID-19 has affected not only the band but America as a whole.


Tommy Siegel's Comic 'I Hope This Helps' Pokes at Social Media Addiction

Jukebox the Ghost's Tommy Siegel discusses his "500 Comics in 500 Days" project, which is now a new book, I Hope This Helps.


Kimm Rogers' "Lie" Is an Unapologetically Political Tune (premiere)

San Diego's Kimm Rogers taps into frustration with truth-masking on "Lie". "What I found most frustrating was that no one would utter the word 'lie'."


50 Years Ago B.B. King's 'Indianola Mississippi Seeds' Retooled R&B

B.B. King's passion for bringing the blues to a wider audience is in full flower on the landmark album, Indianola Mississippi Seeds.


Filmmaker Marlon Riggs Knew That Silence = Death

In turning the camera on himself, even in his most vulnerable moments as a sick and dying man, filmmaker and activist Marlon Riggs demonstrated the futility of divorcing the personal from the political. These films are available now on OVID TV.


The Human Animal in Natural Labitat: A Brief Study of the Outcast

The secluded island trope in films such as Cast Away and television shows such as Lost gives culture a chance to examine and explain the human animal in pristine, lab like, habitat conditions. Here is what we discover about Homo sapiens.


Bad Wires Release a Monster of a Debut with 'Politics of Attraction'

Power trio Bad Wires' debut Politics of Attraction is a mix of punk attitude, 1990s New York City noise, and more than a dollop of metal.


'Waiting Out the Storm' with Jeremy Ivey

On Waiting Out the Storm, Jeremy Ivey apologizes for present society's destruction of the environment and wonders if racism still exists in the future and whether people still get high and have mental health issues.


Matt Berninger Takes the Mic Solo on 'Serpentine Prison'

Serpentine Prison gives the National's baritone crooner Matt Berninger a chance to shine in the spotlight, even if it doesn't push him into totally new territory.


MetalMatters: The Best New Heavy Metal Albums of September 2020

Oceans of Slumber thrive with their progressive doom, grind legends Napalm Death make an explosive return, and Anna von Hausswolff's ambient record are just some of September's highlights.

Collapse Expand Reviews

Collapse Expand Features

PM Picks
Collapse Expand Pm Picks

© 1999-2020 PopMatters.com. All rights reserved.
PopMatters is wholly independent, women-owned and operated.