"I know all about fear and desire," Jackson asserts on brazen opener "Lust in the Movies", sounding like she lives on lipgloss, cigarettes, and glasses of wine. It makes you wonder why anyone actually likes the Kooks. But what the album really tells us most about is the divide between the girls on film and our little iWorld- the contrasts between romantic notions and dreary humdrum, wants and needs, love and being in love, and inertia and bone-jumping. So they're the pop-punk Dusty Springfield to fellow Sheffield band the Arctic Monkeys' provincial kids-today Kinks. Produced by Pulp's Steve Mackey (singles re-recorded, sadly), the Long Blondes inherit that band's arched back and sharp tongue, plus a bit of Elastica's love of borrowed late-70s riffs. Sheffield's the Long Blondes say: You could have both!!! Baxter: All they want is "a good film noir and a bottle of gin." If those starlets of the silver screen can be blamed for our culture's impossible standards regarding the opposite sex, clearly it's all that hardcore, girl-next-door interporn that offers enough "reality" for guys to hold down jobs, tie our shoes, and buy Valentine's Day presents. A quintet of two guys and three dolls, the Long Blondes seem obsessed with cinema- Sedgwick, Anna Karina, Arlene Dahl, From Here to Eternity, and C.C.
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