New Track Roundup 04/16/10 – Across the Pond Edition
By: Daniel Wipert
Foals “This Orient”
Foals were a very exciting band in early 2008. Foals melded post-punk math rock with a British sense of cockiness and purpose. There was a considerable buzz surrounding this Oxford, England band before their debut was even recorded. Foals’ early live show drew most of the attention where the band seemed to be nearly out of control in spite of their tight riffs and precise beats. Part of the appeal was and is the unique singing of Yannis Philippakis, who yelps as much as sings about something strange and unknowable. I became a huge fan of Foals when I saw their performance of “Red Sox Pugie” on a British music show called Later with Jools Holland… . Part of being so into music for me is always searching for ‘IT’, which is totally undefinable beyond identifying IT. This performance of “Red Sox Pugie” is definitely IT. Sadly, the debut album did not capture the energy and rawness of Foals’ live performances. I found the debut to be very flat, which I blame squarely on the producer (I am looking in your direction, David Sitek of TV on the Radio).
Foals are back with their 2nd album entitled Total Life Forever, which will come out in May both in the US and UK. The 1st single from this album, “This Orient,” was just released, and I think it is perhaps an unfortunate direction for the band. Let me clarify why I liked Foals so much. They were raw, on edge, and nearly out of control. Their debut did not sound like this. It sounded much too contained and safe compared to the band’s live performance, which I witnessed for myself at Lollapalooza in 2008. “This Orient” continues this trend towards comfort and propriety. I suppose this is a very typical evolution for bands. Foals sounded like a punk band to me in the beginning, and now they are starting to sound more like Muse, mid-career Oasis, or the lesser songs of Doves.
The production on “This Orient” is much richer than the debut, which is a step in the right direction. The problem here is that there isn’t really a song to latch onto. “This Orient” sounds great, but there is nothing dig your teeth into or take you someplace else. The only real emotional hook is the two-note bass sweep that chugs along over and over again. “It’s your heart / that gives me this western feeling,” is one of the main lyrics. I have no idea what they are talking about, but it is at least intriguing and not cliche. At the end of the day, “The Orient” feels more like a song fragment than an actual song. There is no narrative or journey. It ends where it begins. Foals’ “The Orient” is not a bad track in the general sense. It is well-produced and there is something going on, but I don’t think it is a good track for a band like Foals, who overflowed with potential and excitement in their beginnings.
The Futureheads “Heartbeat Song”
The Futureheads’ debut album was one of my favorites of the Aughts. It was dense, raw, and about to burst into flames. The energy was overflowing on nearly every song. It felt vital, like they had to make it right then and there. Then their second album, News and Tributes, came out and I listened to it about twice. I was not a fan of their new poppy direction. I wanted the angular guitars and layered voices, not little sea shanty pop songs. The Futureheads have been banging away since 2004, but I have not been paying too much attention since their sophomore album. I will say their cover of Kate Bush’s “Hounds of Love” is definitely one of favorite tracks of the last decade (see the Pitchfork TV version).
The Futureheads are back with their fourth album The Chaos and their lead single is “Heartbeat Song.” At first, it seems like The Futureheads had deteriorated into post-Pinkerton Weezer territory, going for the top 40 pop sound. Upon closer inspection, The Futureheads have dug a little deeper into their roots and are starting to channel the Ramones instead of Gang of Four. The simple punk sound of “Heartbeat Song” is refreshing when worn by the F-heads. The vocals are crisp and layered enough to be interested even though they spew nonsense about singing hearts.
The Futureheads are having fun, but they aren’t being lazy about it like Weezer has for the last decade. “Heartbeat Song” is a great pop song that should have spot on an your upcoming late-spring mix (I usually do a May Day mix). Does their music still seem vital as their debut… not really at all, but it is clear thats not what they are aiming for. Have fun, its sunny outside.
Goldheart Assembly “King of Rome”
One of the pleasures of being a Anglophile is hearing music months or years before it will ever get airplay in the states. Name some of the biggest bands to break out in the last decade (The Strokes, The Killers, Kings of Leon). All of these bands were championed in the UK before most of us had ever heard of them. This was also the case with Jimmy Hendrix who left the US a great guitar player, and came back from the UK a god. America produces great musicians and bands, but we don’t have the critical taste and refinement of the Brits who can pick out a hit within seconds of hearing it. What is quite sad is that many bands who become popular in the UK are never heard of in the US, ever. So while the Brits are eager to hear what America has to offer, we too often ignore what goes on across the pond.
Over the last couple years, there have been a glut of UK bands that have become popular in their homeland, but never quite make it over the Atlantic (Golden Silvers, The Horrors, Wild Beasts). For every band that does make it over (The xx), there are probably a dozen or so quality bands that don’t. I hope Goldheart Assembly is able to make the leap, but I wouldn’t put money on them clearing over a few thousands albums in the US. Goldheart Assembly is from London, and they have been hyped by tastemakers like the BBC’s Steve Lamacq and the infamous Brit rag NME. I had heard their music a few times listening to the BBC, but none of it grabbed my attention until “King of Rome,” the single from their full-length Wolves and Thieves. The album has not been released over here in the States, but you can download it via Amazon.
What interests me in “King of Rome” is the craftsmanship of the song and the sound. The sound is not breathtaking, but it is very tight and well-done. The harmonies are warm, and the chorus has an extended hook that makes you want to hear it over and over. Goldheart Assembly continues the tradition of British bands making solid music that does not stick out enough to catch the attention of us Colonialists, but I think this song is definitely worth a listen.