Even if your instinct is to hurl bricks at bandwagons, leap aboard this one, and leap high. If 2004's maverick motif is to be a return to intelligence, a post-Oasis state where 'art' isn't considered a dirty word, rejoice. Franz Ferdinand are firing on all synapses, if you please. The young Glasweg...
Even if your instinct is to hurl bricks at bandwagons, leap aboard this one, and leap high. If 2004’s maverick motif is to be a return to intelligence, a post-Oasis state where ‘art’ isn’t considered a dirty word, rejoice. Franz Ferdinand are firing on all synapses, if you please.
The young Glaswegian four-piece may remind you of the days when Postcard Records flung the accurately messy Orange Juice and Josef K at the nation. Equally valid will be claims that Franz are this month’s UK Strokes. Also, you may ask yourself: Talking Heads, Interpol, The Rapture, Wire, Led Zeppelin, The Sweet, Television, Magazine, Sparks? Franz are fragments of then, and figments of now, and they make their own glorious beast, a clinical collage of these elements. This dynamic, direct debut (under 40 minutes) has a gleaming six-pack for a belly and belches lavender. It’s made by funky, punky junk-shop monkeys who strut, swagger and shrug nonchalantly.
“Jacqueline” teases us elegantly before the first clipped, precise guitar line. “Oh I’m alive,” it announces, “and how I know it.” The lyrics throughout proclaim an identity; abstract, peculiar, making only their own brand of foppish sense. First chorus goes: “It’s always better on holiday… That’s why we only work when we need the money.” I mean, what’s that about? But at the same time, what a fabulous pop refrain! “Tell Her Tonight” covers failed chat-ups, faint touches, breath on a neck. “Take Me Out” sashays through its staccato riffs and perverse, powerful structure, sexily. These boys are cheeky and charming: for all the influences, their voice is uniquely, gently mad. While their rhythms are as sharp and clean as a knife, listen close and you’ll hear a cough, a yawn. Further songs deal with infidelity, girls, boys?if “Michael” is overtly homo-erotic, “Cheating On You” brags, “Goodbye girl, yes I’m a loser”. Excellently strange. Previous single “Darts Of Pleasure”, is just excellent, while aggression meets agility in the closing pole-vault of “40Ft”.
Songs that sound like they’re about to come, but not just yet. That good. You want a piece of their war.