The Hours - 'Narcissus Road' (Polydor) Released 05/02/07

Having gone through the back-end of the nineties and the early part of the millenium as no-mark drug addicts within the London indie scene, it is worth mentioning that The Hours have already achieved something merely by releasing their debut album, 'Narcissus Road'. First catching the eye last year with the commentary-sampling 'Ali In The Jungle', this first full length LP will go some way to proving whether they have what it takes to storm the music scene at a relatively late age.

Beginning with the energised rumble (sorry, we couldn't help it) of 'Ali...', the album's tone is one of confrontation, urging the listener to get up and take its inspiration from the cultural heroes of folklore, from the legendary boxer to Nelson Mandela to Ludwig Van Beethoven of all people. It's straight out of the modern rock book of self-help, up there alongside the Razorlights and Jets urging us to "hold on" and to "shine". Perhaps a little annoying (it was the brothers Gallagher that started this trend, back when they were good) but a cracking tune nonetheless.

The album continues on a more low key note with 'Back When You Were Good' (coincidentally) and the title track, all piano hooks and jauntiness. Worryingly, there are traces of Keane in here, though obviously a little more edge.

Things do however progress, 'Love You More' with its industrial drum beat and slightly more sprightly pace jollying us up somewhat. Antony Genn and Martin Slattery do love their cultural references (hooded tops, Tony Soprano, new trainers and cliches such as "if you don't shoot then you don't score"), but the most disappointing.phpect of their lyrics are the occasional traces of laziness, such as failing to find a rhyme so simply using the same word twice and the unnecessary predilection for swearing - any band that can use "misanthrope" within pop verse is clearly capable of better.

There is however much to admire as by and large this is good, catchy, angry stuff. Penultimate track 'People Say' rails against anyone who thought they couldn't make it (more cultural references here I'm afraid, Mozart and Beethoven again), while 'Let Me Breathe' finishes the record in a slightly over the top fashion.

A thoroughly decent, if inessential record. Giving up the smack was definitely worth it.