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Alternative & Indie - Released April 2, 2021 | Cooking Vinyl Limited

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Fifteen years separate this sixth Fratellis album from their first, the famous Costello Music (2006), which had nothing to do with (and sounded nothing like) Elvis Costello, featured their surprise hit Chelsea Dagger which took the band to immediate worldwide success (with nearly two million copies sold). The three pseudo-Fratellis brothers (the three friends present themselves as the Fratelli brothers despite having nothing Italian about them and not being brothers), skillfully embroider rock ritornellos with a very satisfying vintage patina. Once a stage is set, it stays set: this sixth album is once again an invention, a concept, a look. The title is itself very cinematic, Half Drunk Under a Full Moon. The ten songs that make up the album are each a scene that you can easily imagine while listening to the lyrics... Like Strangers in the Street which flirts with the kitsch of an overbearing romanticism. We then find behind these songs this ironic Scottish spirit, often seductive.  Moreover, the most obvious influence, listening to Half Drunk Under a Full Moon, is a tribute to the doo-wop of Sixties girl groups and the Motown of Berry Gordy, from the Supremes to the Marvelettes through Martha & The Vandellas. The aptly-named Need A Little Love is offbeat and successful, with its catchy chorus. These three musicians are experts in retro and when listening to each of the tracks we can feel the sixties seep from every sonic pore. The Wall of Sound effect, so dear to the late Phil Spector, seems to be infused throughout the whole album, gripping on The Last Songbird, adding to the singularity and anachronism of the project. In the end, the three rock forgers demonstrate their know-how and make Half Drunk Under a Full Moon an experience which while not necessarily very original, is very expertly rendered. © Yan Céh/Qobuz
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Rock - Released March 13, 2007 | Universal-Island Records Ltd.

Brash, melodic, and imbued with a more-than-healthy sense of British rock tradition, the Fratellis and their debut album, Costello Music, come across almost like a caricature of bands like the Libertines, Dirty Pretty Things, and Arctic Monkeys -- but at least it's a flattering one. The Fratellis take themselves a lot less seriously than some of the other laddish bands popular in the U.K. in the late 2000s, and emphasize hooks and fun rather than samey-sounding rock. Songs like "Baby Fratelli" and "The Gutterati" have a singalong simplicity, and it feels like the band puts as many "la la la"s and "ba da ba"s into each song as they can -- and then try to cram in a few more. Costello Music's best tracks go even farther with the band's fun-only agenda; it's easy to hear why "Flathead" -- which switches between grinding, aggressive verses and a downright giddy chorus with more of those "ba da bop a dah" hooks -- was picked to soundtrack a fittingly day-glo, kinetic iPod TV commercial. The outstanding single "Chelsea Dagger" is just as vibrant, a swaggering glam rock nugget with pints-aloft choruses. "Henrietta"'s loopy catchiness owes a debt to vaudeville or musical comedy, and not just because Jon Fratelli sings "wa wa wa waaaahhh" along with the guitar solo; "For the Girl," meanwhile, has a melody so strong, it could've been a hit anytime between the '60s and the '90s. Elsewhere on Costello Music, the Fratellis show off their knowledge of other corners of rock history: "Vince the Lovable Stoner" is appealing faux country-rock; "Doginabag" adds some blues and grit to their sound; and "Creepin' Up the Back Stairs" nods to '50s rock and skiffle. Even when the band gets a little more complex, as on the darkly twangy "Got Ma Nuts from a Hippy," they keep the focus on rapid-fire rhythms and air guitar-ready solos. Indeed, Costello Music is so high-energy, it's almost too much to take in one sitting. Then again, this music wasn't made for sitting, it was made for dancing yourself silly. They might not have the cultural or historical impact of some of their peers, but the Fratellis are a lot of fun in the moment -- whenever that moment is. © Heather Phares /TiVo
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Alternative & Indie - Released March 16, 2018 | Cooking Vinyl

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The Glaswegian Indie rock group The Fratellis are back with their fifth studio album In Your Own Sweet Time. Having burst onto the scene with their debut album Costello Music and picking up the Best British Breakthrough Act at the BRIT Awards in 2007, the Scots have evolved their sound as the years have ticked on. In Your Own Sweet Time is a feel good compilation of that classic Fratelli’s sound, which is heard a million times over on TV ad’s, at football games and everywhere else in between with their 2006 hit Chelsea Dagger. Intricate dueling guitars riffs, high tempos on percussion and soaring vocals will leave you grooving along uncontrollably as The Fratellis successfully blend the energy of American pop with the virtuosity of English rock. With tracks like Stand up Tragedy and The Next Time We Wed fit for a sun kissed festival stage, The Fratellis are sure to be gearing up for a busy summer! © Aidan Nickerson/Qobuz
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Alternative & Indie - Released April 15, 2016 | Cooking Vinyl

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Alternative & Indie - Released October 28, 2013 | BMG Rights Management (UK) Ltd

We Need Medicine marked the Fratellis' return from a four-year hiatus, during which time Jon played with Codeine Velvet Club and pursued a solo career, Barry toured with the Twang, and Mince played with Throne o' Diablo and Jon's backing band. Wisely, the trio doesn't try to pick up where they left off, which was 2008's relatively mannered Here We Stand. Nor do they try to recapture Costello Music's giddy heights; instead, they opt for a slightly more grown-up, slowed-down version of their sound that has a bit more grit and swagger. The brash opening track "Halloween Blues" is just as rollicking as anything by the Fratellis of old, and while it may not be as rambunctious, it shows that the band hasn't forgotten how to have fun during its hiatus. The trio also brings some aspects that used to be on the fringes of their music to the fore; the dark, driving undercurrent on songs such as "Jeanie Nitro" and the Stones-y "Shotgun Shoes" feels more genuine here than it did on earlier albums. Likewise, the historical allusions that have always peppered their music seem more natural, and the countrified pedal steel on "Until She Saves My Soul" and the twangy '50s guitars on "Seven Nights Seven Days"' sound equally fresh and familiar. There are also hints of some emotional growth on We Need Medicine's more heartfelt moments: "This Old Ghost Town" and the anthemic "Rock N Roll Will Break Your Heart," both stay on the right side of the fine line between earnest and schmaltzy. While a few songs wander too close to lunkheaded bar rock, We Need Medicine reveals a surprising amount of vitality and growth for a band that spent nearly half a decade apart. Not only is it a welcome return, it's one of the Fratellis' most consistently engaging albums. © Heather Phares /TiVo
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Alternative & Indie - Released August 21, 2015 | Cooking Vinyl

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Alternative & Indie - Released June 19, 2020 | Cooking Vinyl Limited

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Rock - Released January 1, 2006 | Universal-Island Records Ltd.

Brash, melodic, and imbued with a more-than-healthy sense of British rock tradition, the Fratellis and their debut album, Costello Music, come across almost like a caricature of bands like the Libertines, Dirty Pretty Things, and Arctic Monkeys -- but at least it's a flattering one. The Fratellis take themselves a lot less seriously than some of the other laddish bands popular in the U.K. in the late 2000s, and emphasize hooks and fun rather than samey-sounding rock. Songs like "Baby Fratelli" and "The Gutterati" have a singalong simplicity, and it feels like the band puts as many "la la la"s and "ba da ba"s into each song as they can -- and then try to cram in a few more. Costello Music's best tracks go even farther with the band's fun-only agenda; it's easy to hear why "Flathead" -- which switches between grinding, aggressive verses and a downright giddy chorus with more of those "ba da bop a dah" hooks -- was picked to soundtrack a fittingly day-glo, kinetic iPod TV commercial. The outstanding single "Chelsea Dagger" is just as vibrant, a swaggering glam rock nugget with pints-aloft choruses. "Henrietta"'s loopy catchiness owes a debt to vaudeville or musical comedy, and not just because Jon Fratelli sings "wa wa wa waaaahhh" along with the guitar solo; "For the Girl," meanwhile, has a melody so strong, it could've been a hit anytime between the '60s and the '90s. Elsewhere on Costello Music, the Fratellis show off their knowledge of other corners of rock history: "Vince the Lovable Stoner" is appealing faux country-rock; "Doginabag" adds some blues and grit to their sound; and "Creepin' Up the Back Stairs" nods to '50s rock and skiffle. Even when the band gets a little more complex, as on the darkly twangy "Got Ma Nuts from a Hippy," they keep the focus on rapid-fire rhythms and air guitar-ready solos. Indeed, Costello Music is so high-energy, it's almost too much to take in one sitting. Then again, this music wasn't made for sitting, it was made for dancing yourself silly. They might not have the cultural or historical impact of some of their peers, but the Fratellis are a lot of fun in the moment -- whenever that moment is. © Heather Phares /TiVo
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Rock - Released January 1, 2008 | Universal-Island Records Ltd.

On Costello Music, the Fratellis sounded like a ragtag gang, churning out pint-hoisting anthems with anything goes charm and creativity. On their follow-up Here We Stand, it feels like they worked on this music, stepping out of the pub to smooth the edges off their songs and clean up their sound. This doesn't always play to the band's strengths -- where their debut was effortless fun, Here We Stand is more effortful and less memorable. Nothing here clicks like "Chelsea Dagger" or "Flathead" did; even though the album's polish doesn't diminish the Fratellis' energy, bright, lively songs such as "Look Out Sunshine" and the '60s throwback "Babydoll" are, strangely, not as catchy as they could be. However, the Fratellis' charm triumphs more than a few times on Here We Stand, especially when the band loosens up a little. "Shameless" lives up to its name, with jaunty riffs and cheeky lyrics ("Is it me, or are they getting younger every night?"); "Tell Me a Lie"'s stomping glam punk choruses rival the White Stripes, and the single "Mistress Mabel" delivers on the pop potential the Fratellis try for elsewhere. A few songs use Here We Stand's ambition and slickness to the band's advantage: the surging, minor-key "My Friend John" turns the band's irrepressible energy moody, and "A Heady Tale" boasts shifting tempos, layered percussion, and bouncy, Elton John-esque pianos that are one of the strongest ties to the '70s rock obsession the band wore proudly throughout Costello Music. Meanwhile, "Acid Jazz Singer" shows that the Fratellis are developing as witty lyricists with surprisingly fleshed-out narratives. Like a lot of second albums that aren't exactly a slump, Here We Stand is more accomplished than dynamic, but there are still quite a few enjoyable moments here. © Heather Phares /TiVo
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Alternative & Indie - Released April 15, 2016 | Cooking Vinyl

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Rock - Released January 1, 2008 | Universal-Island Records Ltd.

On Costello Music, the Fratellis sounded like a ragtag gang, churning out pint-hoisting anthems with anything goes charm and creativity. On their follow-up Here We Stand, it feels like they worked on this music, stepping out of the pub to smooth the edges off their songs and clean up their sound. This doesn't always play to the band's strengths -- where their debut was effortless fun, Here We Stand is more effortful and less memorable. Nothing here clicks like "Chelsea Dagger" or "Flathead" did; even though the album's polish doesn't diminish the Fratellis' energy, bright, lively songs such as "Look Out Sunshine" and the '60s throwback "Babydoll" are, strangely, not as catchy as they could be. However, the Fratellis' charm triumphs more than a few times on Here We Stand, especially when the band loosens up a little. "Shameless" lives up to its name, with jaunty riffs and cheeky lyrics ("Is it me, or are they getting younger every night?"); "Tell Me a Lie"'s stomping glam punk choruses rival the White Stripes, and the single "Mistress Mabel" delivers on the pop potential the Fratellis try for elsewhere. A few songs use Here We Stand's ambition and slickness to the band's advantage: the surging, minor-key "My Friend John" turns the band's irrepressible energy moody, and "A Heady Tale" boasts shifting tempos, layered percussion, and bouncy, Elton John-esque pianos that are one of the strongest ties to the '70s rock obsession the band wore proudly throughout Costello Music. Meanwhile, "Acid Jazz Singer" shows that the Fratellis are developing as witty lyricists with surprisingly fleshed-out narratives. Like a lot of second albums that aren't exactly a slump, Here We Stand is more accomplished than dynamic, but there are still quite a few enjoyable moments here. © Heather Phares /TiVo
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Alternative & Indie - Released January 8, 2021 | Cooking Vinyl Limited

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Alternative & Indie - Released June 11, 2021 | Cooking Vinyl Limited

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Rock - Released January 1, 2008 | Universal-Island Records Ltd.

On Costello Music, the Fratellis sounded like a ragtag gang, churning out pint-hoisting anthems with anything goes charm and creativity. On their follow-up Here We Stand, it feels like they worked on this music, stepping out of the pub to smooth the edges off their songs and clean up their sound. This doesn't always play to the band's strengths -- where their debut was effortless fun, Here We Stand is more effortful and less memorable. Nothing here clicks like "Chelsea Dagger" or "Flathead" did; even though the album's polish doesn't diminish the Fratellis' energy, bright, lively songs such as "Look Out Sunshine" and the '60s throwback "Babydoll" are, strangely, not as catchy as they could be. However, the Fratellis' charm triumphs more than a few times on Here We Stand, especially when the band loosens up a little. "Shameless" lives up to its name, with jaunty riffs and cheeky lyrics ("Is it me, or are they getting younger every night?"); "Tell Me a Lie"'s stomping glam punk choruses rival the White Stripes, and the single "Mistress Mabel" delivers on the pop potential the Fratellis try for elsewhere. A few songs use Here We Stand's ambition and slickness to the band's advantage: the surging, minor-key "My Friend John" turns the band's irrepressible energy moody, and "A Heady Tale" boasts shifting tempos, layered percussion, and bouncy, Elton John-esque pianos that are one of the strongest ties to the '70s rock obsession the band wore proudly throughout Costello Music. Meanwhile, "Acid Jazz Singer" shows that the Fratellis are developing as witty lyricists with surprisingly fleshed-out narratives. Like a lot of second albums that aren't exactly a slump, Here We Stand is more accomplished than dynamic, but there are still quite a few enjoyable moments here. © Heather Phares /TiVo
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Alternative & Indie - Released February 9, 2018 | Cooking Vinyl

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Rock - Released January 1, 2006 | Universal-Island Records Ltd.

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Rock - Released January 1, 2006 | Universal-Island Records Ltd.

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Rock - Released January 1, 2008 | Universal Music Group International

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Alternative & Indie - Released March 12, 2021 | Cooking Vinyl Limited

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Alternative & Indie - Released February 12, 2021 | Cooking Vinyl Limited

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