Posted on 08/05/2008
First, the bad news. There’s no Paris Hilton baiting or invitation to ‘lick my art tit’ on CSS’ sophomore record. The good news is that Donkey shares the same joie de vivre that made their debut so much fun. They may have grown out of the electro scene that spawned them, with the guitars now higher in the mix and a few dark lyrics here and there, but there’s still no party like a CSS party.

Donkey is an album made for and by the road. Every change from CSS reflects their hugely successful live show – more guitars because they’ve got two (used to be 3) guitarists, morose songs because of their punishing tour schedule and the departure of their bassist and perhaps most significantly, Lovefoxx is more prominent because, well, she’s the star of the show. With her penchant for catsuits and gyrating she’s always been the centre of attention on stage, and now she’s taking over on record.

CSS’s move towards a slightly more traditional rock sound (think Pavement’s angular guitars crossed with Blondie’s spunk) means that there’s now more focus on the one thing that sets them apart, and that’s Lovefoxx. It’s her innocent, all embracing enthusiasm that gives Donkey most of its charm. There aren’t many people who could get away with singing “I believe that love was created just for me and you, people say it’s not, but I believe it’s true” and make it sound sweet rather than mawkish.

Her spirits are so irrepressible that you can even get your groove on to the bleakest song on the album, “Rat is Dead.” It was written for Ira, their ex-bassist, about her ex-boyfriend, their ex-manager who embezzled the band (got all that?), but the glass smashing and screaming contained in the lyrics aside, it’s as uplifting as the other tracks on Donkey. CSS don’t do sad.

It’s the same story with “I Fly” and “Left Behind” which, although they deal with the problems of touring, leave their troubles behind on the wings of pulsing synths and guitar hooks that drip with dancefloor appeal. Even the poor tracks on the album – “Let’s Reggae All Night” and “Give Up” have a bassline and chorus respectively that most bands would kill for. But that doesn’t redeem them – they’re eminently skippable and while you might get away with them in the hullaballoo of a live show, in the cold light of play, it’s less forgivable.

To make up for this, the best tracks on Donkey, “Move”, “Believer, Achieve” and “Air Painter” are stuffed full of enough exuberance and humour that even if you try to actively dislike them, you’ll still end up smiling and shaking a leg or two. When Lovefoxx calls for someone to ‘bring me Welsh Rarebit and sing this song as loud as can be’ it would take a heart of stone to refuse her. She might not be the best singer in the world, and Donkey might not be a great album, but it’s a good one, and they’ll make a lot of people happy. If you don’t believe me, just go and see them live.

Will Georgi