The Heys
Young, Bored & Broke
4 West Records
By Miriam Lamey
The Heys’ debut release, Young, Bored & Broke, has a title that’s a tad misleading. One would think that this album is immaturely fuelled with righteous indignation, that the music transmits a lackadaisical vibe, and, finally, that The Heys are a bunch of martyred, starving musicians. I can’t really vouch for the third implication, not personally knowing these blokes, but judging by the albums’ well-constructed tunes and worldly persona, Young Bored & Broke is far from being “young” and “boring.”
From the digs at instant-gratification-inspired society in the driving “Elbow Culture,” to the Paul Weller-esque, jangly coolness of “Brighten Up My Day,” The Heys present a clean, calculated album. The band hugs its classic rock influences, mainly The Jam and The Kinks, but not too tightly, making the sound inspired but clearly personal. Overall, the album plays with snappy guitar riffs – particularly on the aforementioned “Culture” – thick, resonant basslines and syrupy, accented vocals that fortunately refrain from being at all sweet or too dreary. This album certainly presents an upbeat vibe that’s sure to keep the hipsters’ heads disdainfully nodding.
The main appeal of Young Bored & Broke comes from the fact that The Heys transmit a solid rock and roll energy without acting unbridled and, well, spazzed out and uncouth. There’s something inherently natural about their tunes, which gives the album a compelling sense of order and musicianship; it’s hard to believe this is their first release. “Friday Night” nods to Hard Fi’s tunes, but the guitars are clearer, the production and playing tighter; the overall track is driving, exciting and youthful with great intermittent background harmonies and utterly danceable, dusty riffs.
Young Bored & Broke’s title track is certainly the best on the album. The anthemic tune kicks you right in the teeth with a retro-like driven riff and energized, yet even pace. This homage to crazy nights out and the subsequent evil hangover is far from sonically insane, and singer “Tom’s” suavely accented vocals arch defiantly over the forceful guitars. With cool, matter of fact charm, he throws the chorus right back at the listener without being obnoxious, preachy, or just plain immature. And that seems to squarely describe The Heys; their album title may proclaim youthful heedlessness, but the band present smart, well-composed tunes that more than illustrate their mature musicianship. In other words, don’t judge an album but it’s, uh, title.
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