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Japanese Release of the 2006 Sophomore Album from the Refugees of the Sunderland City Youth Project that Adds "Area", "Help Us Out" and "we Cannot Lose" to the Track Lineup. Singer/Guitarist Barry Hyde Says "a Few People Might Be Surprised by What They Might Hear. I Think It's Many Leaps Beyond What We've Been Doing...it's Quite a Brave Statement of an Album." The Band Used a Unique, Architecturally-conscious Recording Approach, Utilizing a Farm that Doubled as a Studio: "Every Room Has Its Own Sound and Its Own Personality in Any Building." The Farm Has "Some Very Bright-sounding Rooms, Some Dull-sounding Rooms for Contrast. We Used the Greenhouse for Some Guitar Parts...we Put Microphones around the Courtyard, We Recorded the Drums in a Cowshed and Backing Vocals in the Stables, We Recorded Percussion Parts in the Cellar." The Project was Produced by Ben Hillier (Blur, Depeche Mode, Doves). Includes the First Single "Skip to the End".
Best known for a spastic, heavily accented post-punk cover of Kate Bush's "Hounds of Love" that went Top 10 in the UK, this British quartet attempts to kick away from its '80s-inspired comrades--such as Franz Ferdinand and Kaiser Chiefs--on their second album. Not that there's any shortage of spiky riffs, jerky rhythms, and off-kilter harmonies on News and Tributes. But get past the more pedestrian fare like "Yes/No" and "Return of the Berserker," and the full scope of the Futureheads' ambition reveals itself, particularly in the poppiest track, "Skip To The End." Meanwhile, "Thursday" is laced with a distinct doo-wop feel, "Favours for Favours" shows the band's softer side, and the jagged "Burnt" proves that the group can approach greatness on a song of its very own. --Aidin Vaziri商品の説明をすべて表示する
こう聞くと 彼らの最大の魅力がなくなり わけのわからい方向に向かってしまった
と思われがちだが 何回か聴いてみると 新しい魅力が開花されていることがわかる。
だが できればボーナストラックであるArea級の曲を2−3曲挿入されていれば と思ってしまうのも事実です。
I have several favorite tracks such as the first single, "Skip To The End", "Yes/No", "Favours For Favours", "Thursday" and "Help Us Out". All could be hit singles on alternative radio if given the chance. Unfortunately, The Futureheads aren't well known in America yet, but I'm sure us fans don't mind.
There are secondary tracks like "Cope", "Burnt", "News And Tributes", "Back To The Sea", second single "Worry About It Later" and "We Cannot Lose". These tracks solidify their sophomore release, lifting to above average status.
Then there are the tertiary tracks such as "Fallout", "The Return Of The Berserker", "Face", "Area" and the amusing Shy Child Remix of "Decent Days And Nights" from their debut album.
Overall, this should satisfy those like myself who are into the neo-new wave/punk/romantic movement that also includes The Postal Service, The Killers, The Music, Interpol, Keane, Kaiser Chiefs, Franz Ferdinand, Dogs Die In Hot Cars, Arcade Fire, Bloc Party, Rock Kills Kid and others.
It actually starts off on a disappointing note, with the limp "Yes/No," with its cycling guitars and distant vocals. They sound like they were pasted together. But then the guys get back in the saddle with the bombastic catchiness of "Cope" and the sputtery bounciness of "Fallout." At this point, breathe a sigh of relief, since it's clear that the Futureheads have gotten back into stride.
From there on, they explore different kinds of dancepunk, from the fuzzy thumping of the title track to an avalanche of bombast guitar. The band even dabbles in strummy acoustic rock without much studio polish... before it erupts into an electric-guitar geyser. Ah, I guess they must be true to their sound.
The album peaks with a trio of energetic rock songs making up the finale (not including that dizzying electro remix). "Tell me how bored do you have to be?/And I promise you won't be bored!" Hynde yowls slyly. It's a fitting and strong finale, but it leaves you hungry for me.
There was something very lovable about "The Futureheads." It was dancerock, pure and simple. No pretensions. But in "News and Tributes," the Futureheads have actually managed to do something more impressive, by making a sophomore album that retains their signature sound, but isn't a carbon copy.
Instead, they make it better -- their bombastic riffs and basslines have gotten tighter and more polished, and the music has gotten more complex. "Return of the Berserker" will probably knock you out of your chair with that explosion of sheer sound. And best of all, they sound more confident, letting each song explode with gusto. They almost overflow with vibrant energy. That's what makes the music rock and roll along, from one track to the next.
One thing that HAS changed is that they don't sound quite as joyful as they did before. We have plaintive wails of "Is anybody he-ARE?," inabilities to cope, and refusals to go back to the sea. But Barry Hynde still belts out those songs with explosive gusto and the occasional nudge-nudge-wink-wink.
The Futureheads have turned out one of the best sophomore albums of the year thus far, more polish and care, but the same fast-spinning energy. Well done, boys!