The Reytons – What’s Rock and Roll? Review

Regardless of musicianship or quality, The Reytons have proven themselves an independent force to be reckoned with. They are aware of their self-produced and chart-topping status. They are what so many artists would chew their legs off to be. Independent of label, of structure, of ulterior motive. Fantastic place to be, although it feels as though The Reytons, with that independence, are stuck between Arctic Monkeys circa 2006 and a hard place. The ear favours no point of view, but it is the initially convincing tones found on What’s Rock and Roll that maintain a steady, punching-up style to the heavy rock tracks that make up this sophomore piece from the Jonny Yerrell-fronted band.

Smart opener 15 Minutes in the Algorithm feels tailor-made for just that. But it all feels keen to earn a broad demographic, and the cracks begin to show quicker than expected. An opening track that has moments similar to Whatever People Say I Am, That’s What I’m Not. There is no hiding that approach on Istanbul and beyond. It is not just the sound that appears similar but the colloquial joy, the rougher ways of the guitar work, the harsher style of the vocals. It feels relatively indie-pop-ready and manages to separate that with some focused moments. Avalanche rips away the novelty though, the closer the lads push themselves to that post-punk style, the better. Medium is pushed back to make way for message, a selection of working-class ballads that should know how valuable they are.  That trust and faith, the line between bringing the unheard voices to the front of music, feels frequently squandered here

Growing up opposite an Asda where your mum works and having your dad out the front on call as an electrician, those roots of working-class ways can always be felt in music that correctly, or earnestly, gives sidelined classes their time to shine. Little Bastards has some nice hooks and simple stylings to it but does little to elevate itself beyond solid rock charms. Cash In Hand & Fake IDs has colloquial presence but may as well be a number from The Kooks. With so many current events on the go, it is striking that so few are touched on. How many rely on the stereotypical boozy cruise through life and love. It goes on and on. Not much change to that, and not much change to the forgettable tones of What’s Rock and Roll. Touches of narrative are present and do little for the album because of how obvious and misery-related it feels. Not quite earned, but certainly investing its time there. One More Reason is wavering proof of that. Morally and emotionally manipulative pop-rock riffs that are under the guise of cultural jabs. Fading is anyway, an emotionally empty attempt at being culturally relevant to the horrors of drinking and driving.

They are kids off the estate though and part of that charm is why it is so important that What’s Rock and Roll has such an impact. Rebellious post-punk pieces are an attractive style now that everything’s gone to pot and bands like The Reytons lead that charge. Newcomers? Not quite. Good? Not quite. But the likes of Muckle are still knocking about with a harsher, clearer charm. The Reytons are stuck in the Zoo and Nuts era of working-class ideals. Monthly Subscription is a product of that troubled styling. Never shaking its early studio Arctic Monkeys style, What’s Rock and Roll may be a chart-topper, but it tops nothing in the way of new thoughts or processes. Safe and sound with the sort-of mockery that is disguised by a very charmless, broad look at working-class life. It’s A Fuck About, as the band admit, but much is lost when the working-class narrative boils down to booze, bruises and bullying.