![]() ![]() Seems like these party boys could connect with their hearts after all. ‘Fade Together’ was straight-up gorgeous, Kapranos cooing “Once you’ve loved someone this much, you doubt it could fade/No matter how much you’d like it to”. ‘Eleanor, Put Your Boots Back On’ – a swooning, bittersweet love song to Eleanor Freidberger – brought some much-needed intimacy. It wasn’t as fully-realised as the debut, but there were beckonings of emotional concerns beyond the dance-floor, hinting at impending maturity. Show-stopping single ‘Do You Want To?’ took a self-deprecating pop at the dilettante art scene they’d grown from: “Here we are at the Transmission party, I love your friends, they’re all so arty…” as ‘Evil And a Heathen’ ripped through an nihilistic, intoxicating two-minute stomp. They really took up the mantle of party band on this one. For what really matters when “we’re all damned”? ‘The Fallen’ came over like an elegant lush swaggering down the street, full of champagne and bravado, slinging out biblical references to “fish and unleaven” – chronicling the unholy saints of night-life and the sanctity of self-destruction. A record that didn’t quite hang together, but was so rammed with clever, hook-laden bangers everyone was too busy dancing to notice. Released in 2005, only a year after their debut, in the white-hot heat of their commercial success. 'You Could Have It So Much Better' (2005) And not to mention, it won them the Mercury. It was a debut that cast them as a band capable of both superlative pop and convincing introspection, catapulting them into the stratosphere both at home and in America. Sharp and sleazy as a whip cracking the floor.īook-smart and deadly, an angular call to arms. And what a single it was – forging in three unforgettable minutes the blueprint of their classic sound. ![]() Let’s not forget ‘Take Me Out’, the juggernaut of a track that helped bring indie music to the masses in the early 00s. ‘The Dark of the Matinee’ uses its cinematic backdrop to offset furtive fumbles, whilst the pensive, pent-up punk of ‘Cheating on You’ contrasts with the yearning ‘Come On Home’ and the staccato guitar duel of the closer, ‘40’’. This vein of nocturnal adrenaline runs like a constant through the whole of the record, climaxing in ‘Michael’, a revolutionary (at the time) song, soaked in sweaty, dance-floor homo-eroticism (“stubble on my sticky lips”) and provoking a much-needed conversation about sexy ‘straight’ indie boys occasionally getting off with one another.Įven in daytime, they’re running away from the light. “I’m so drunk I don’t mind if you kill me – but for chips and for freedom I could die” sings Kapranos in a later refrain, charged up on the electricity of the night, railing at nothing in particular. With that in mind, Marianne Gallagher dipped into the band's archives…įrom the opener, 'Jacqueline’s juddering beginnings and sly references to cult Scottish poet Ivor Cutler, the eponymous debut ‘Franz Ferdinand’ announced itself like a kick in the teeth. Lexie from Sydney, Australiai think it was released in Australia too.New album 'Always Ascending' is out today (February 9th) and it's the first Franz Ferdinand record without founding guitarist and co-songwriter Nick McCarthy.Danny from Sydney, AustraliaYeah, in Australia we got "Walk Away", "The Fallen" and "Do You Want To" as singles from "You Could Have It So Much Better". ![]()
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