In music, a sudden change in
direction can be considered a highly refreshing development, a bullet to the
knees, or indeed clutching at straws. If a band has been carving a certain
niche for themselves then decides to change genre, it can have a decidedly
mixed reaction. If that niche has been carved time and time again, it might be
wise to move away and try something new. Which is exactly what The Futureheads
have gone and done.
The Sunderland quartet's fifth
record - their third self-release since their departure from 679 Recordings -
seems the epitome of "change in direction". The band have gone so far
as to completely ditch their instruments, instead relying on their dulcet
Mackem tones - yes, this is the same band that crafted one-time post-punk anthem
Decent Days and Nights back in 2004,
and yes, I will repeat: Rant is
entirely a cappella.
While a glance at the record's
premise might conjure images of a singsong at a Tyne-Wear derby game, the
actual music stands up rather better. Small amounts of learning about the art
of a cappella throughout last year have combined and familiar Futureheads songs
were gradually reworked for this record. Opener Meantime's staccato harmonies match up surprisingly well, even if
the sound can't hold a candle to the original song; the verses in Robot come out predictably a cut above
than the refrains, since dynamics were clearly not among their priorities while
mixing.
Covers of Black Eyed Peas'
idea-laden, poorly executed Meet Me
Halfway and Kelis' electro-driven Acappella
end up feeling like, as with much of this album, a YouTube tribute to the
originals rather than songs in their own right. Although the Sunderland twang
in the vocals lofts them musically higher than their source, the lack of
anything behind the voices means the tracks feel rather empty. Sadly, this is a
recurring theme throughout Rant.
Barring the occasional cover,
both of contemporary music and traditional English folk, much of the material
being used for Rant is music already
released by the group. While a novel idea - the listener can get a taste of
what Thursday might have sounded
without those heavy cymbals littering the soundscape, for instance - it seems
like an opportunity missed. The Futureheads could have completely reinvented
themselves with this album and started afresh, but it feels like they simply
weren't willing to just put out a "Best Of" and instead wanted to add
a marketable novelty. To be frank, if you already own the original versions of
every song on this record - and chances are most fans do by now - you're buying
this for the covers on their own.
While The Futureheads should be
applauded for making the effort and not simply churning out another edition of Now That's What I Call Post-Punk Revival,
the vehicle in which they've ventured so willingly outside of the box is so
riddled with gimmicks it's not even roadworthy. The fact that not a single song
in this collection has been written for the album raises considerable alarm
bells as to the work put into the record.
Those looking for a band moving
from strength to strength, evolving their sound and consistently striving to
improve and adapt to their surroundings will be disappointed with Rant. Despite their best efforts, The
Futureheads are definitively stuck in their groove, and not even binning the
guitars can save them here. On this evidence the band's remaining days may be
numbered, and this record may well turn out to be just a plank of wood in their
coffin.
Rant is out on the 2nd of April.
JS
2 comments:
But what if they're not trying to make a musical statement and the album is considered to be a lightweight bit of, ahem, fun? Did the cover of Beeswing genuinely not even raise a bit of a smile? I bought this and have listened to it constantly for a few days; I'm certain I'll soon forget about it as it's obviously not an epochal classic but equally certain I'll enjoy it when I rediscover it in a few years...
Hi Samuel. While I can't fault Futureheads for having fun - seriousness and indie-rock don't often mix, of course - I think at this stage in their career they're trying to pull themselves back into the limelight but don't seem to be willing to put in the work to do so.
This isn't a bad album, it's just not enough spark to rekindle the band's ailing fortunes. The primary point of my review was to say that they're really just taken their older work and diluted it into a Best Of in all but title.
The covers, as I said, were good fun and all the album has going for it; "Meet Me Halfway", I must say, made me look twice and snort like a schoolchild once I realised it was familiar.
The only issue here, really, is the timing of this album - the band is slowly slipping out of the limelight, and to realise something a cappella just reeks of marketing ploy. Indeed, their press release was enough to make me chuckle to myself and wonder what on Earth this was going to be like.
Opinions are opinions, really. If you like the album then who am I to change your mind?
-Joe
PS: The album seems to have been enough to land them a support slot with the Chilis, so fair play there!
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