Razorlight

(Universal/Motown)

Sometimes the sophomore slump yields Razorlight. Bookended by “In the Morning,” the hangover following the London quartet’s splashy Up All Night, and anthemic closer “Los Angeles Waltz,” Razorlight shoots from the hip noticeably more immediate than the group’s more manicured 2004 debut. The run-and-gun nature of second albums sometimes boils a band down to its essence. In this case that’s singer-songwriter Johnny Borrell’s unfailing melodicism, ample hooks, and cocky but plaintive tenor. The boy’s pure Brit-rock. With help from famed producer Chris The Pretenders Thomas, Borrell punches out 10 tracks in 35 instant-repeat minutes. Distribution by Motown parallels the stamp and clap of “Hold On,” pining “Before I Fall to Pieces” and “I Can’t Stop This Feeling I’ve Got,” and marching “Back to the Start.” “America” reiterates “Waltz,” whose boulevard of broken dreams lands on “Mulholland Drive with the radio on. They played Augustus Pablo and the Kings of Leon.” Porsche. (Wednesday, March 14, Stubb’s, 12mid)

All Showcases Subject to Change

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This article appears in March 9 • 2007.

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San Francisco native Raoul Hernandez crossed the border into Texas on July 2, 1992, and began writing about music for the Chronicle that fall, debuting with an album review of Keith Richards’ Main Offender. By virtue of local show previews – first “Recommendeds,” now calendar picks – his writing’s appeared in almost every issue since 1993.