Independent music from across the pond took America by storm in 2004.
From, the Libertines to Ferdinand, its no longer just the Queen's kids who are moving to an English beat.
The Libertines
A year has passed since singer and guitarist Pete Doherty was released from prison after burglarizing co-songwriter Carl Barat's apartment in a drug-soaked rage.
In that year we have seen the London quartet reunite to perform an intense comeback tour full of riotous sellout gigs and manage to put out a critically acclaimed second album.
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This record signified the Libertines having fans at its feet with so many frenetic, yet poignant, garage-punk melodies at its disposal. The group is reminiscent of the Velvet Underground with a hint of the Clash and an idealistic notion of traditional Britishness.
The opening track, "Cant Stand Me Now," encapsulates the two close friends' love-hate relationship in a rousing staccato fashion.
2004 is the year the Libertines rose to prominence and then fell apart in a truly shameful heroin-addled mess.
This record could have been a platform for the Libertines to conquer America, but unfortunately, it is their swan song. Artistically sound and uniquely influential, their self-titled album was recorded in the few days that Doherty was sober enough to get to the studio.
Franz Ferdinand
Franz Ferdinand reveled in almost instant success since releasing its debut last year. In America, the album sold over 750,000 copies, encouraging for a Scottish band to be so well-received by a market renowned for its difficulty to be penetrated.
This album illustrates exactly why the band was welcomed by so many with an array of songs that are both accessible and exude a "Who cares?" attitude in tune with their audience.
Dressed like dandies with bouffant coifs, they may come across as arrogant, but their appearance is in harmony with their music, their trousers as tight as their guitar licks.
Bands and albums such as this show it's not uncool to dance to indie music.
The Futureheads
The Futureheads ambitiously combine jumpy guitar riffs with antagonistic, yet melodic, vocal interplay to create a completely individual sound.
Imagine a barbershop quartet punk band, and you have an idea of The Futureheads. Obvious influences would be the Buzzcocks and the Jam, although the band does not sound specifically like either. Its unusual Sunderland accent from the north of England gives the music an extra edge.
Initially the sound the band generates doesn't quite gel, which may be jarring to some. However, the complexity of the musical arrangements and how well they are performed undeniably deserve respect, even if you don't like it.
The 15-song album is fast and raucous, full of two-minute punk blitzes punctuated with four-part harmonies. "First Day" is a tongue-in-cheek critique of working life that gets progressively louder until it climaxes in a frenzy.
"Decent Days and Nights" is an immediately catchy song with a jaunty riff and energetic rhythm.
Due to the strength of this album, The Futureheads were signed to a U.S. label before even playing a show here and have opened for Franz Ferdinand on its American tour to receptive audiences.
The Zutons
The Zutons' debut album blends funk rock with saxophone-strewn blues to produce an infectious beat.
The Liverpool group utilizes psychedelics to create panicky, eerie concepts. The title is lifted from an old zombie film, providing a thematic basis for the band's vintage sound.
Who Killed The Zutons plays like it could have been made by a band from the '50s who was ahead of its time.
This album alternates between edgy pyschobilly rock such as "You Will You Won't" and "Dirty Dancehall"To the sorrowful "Confusion," a slow weeping guitar melody strewn with a mourning sax. "Railroad" is a love letter from a bygone age, woefully praying that distance can be overcome, tinged with folk music.
The Zutons cleverly displays a vast wealth of talent in its first album, and could enjoy success in the void left in the British music scene by The Libertines.
The Music
The Music attempt to breach the gap between indie and dance music with its bombastic, bass-driven anthems. "Freedom Fighters" is a stomping call to arms, with the pretext that music can be a weapon. "Dance for the freedom, fathers of the world."
The Music manage to evoke the empathy usually associated with rave culture by using rock. Songs such as "Breakin" equivocate between dance and indie rock style and the hybrid works surprisingly well to create a stirring driving track.
The Music hails from Leeds, a northern city where dance music is more prevalent, and this is clearly evident in their sound. They use traditional instruments with incredible technical aptitude to create noises usually restricted to synthesizers. Welcome to the North is a relatively inoffensive, but intriguing and impressive genre-crossing achievement.
