Ascending and not slowing down
Most are probably familiar with the indie rock band, Franz Ferdinand, from their hit single “Take Me Out” in 2004. Five studio albums, one collaborative album and several Grammy nominations later, the band shows no signs of slowing down. Following the recent departure of one of the group’s founding members, Nick McCarthy, the band introduced two new members, Julian Corrie and Dino Bardot, and launched themselves into the next album. The result is the band’s fifth studio album, Always Ascending.
The band’s debut album was pure indie rock, but as their sound evolved, they ventured further and further from the genre. Disco influence infiltrated the group’s repertoire, and now, pop has done the same. The opening and titular track of the album, “Always Ascending,” introduces a synth-pop sound paired with Alex Kapranos’ energetic vocals. The final minute of the song has clear ‘80s influences as it is filled to the brim with electronic keys and synth, and Kapranos quietly chants in the background. Many other tracks such as “Lazy Boy” and “Feel the Love Go” offer the same energy and electricity. Although exciting, this means some of the tracks can get lost in the crowd and ultimately be forgotten.
“Huck and Jim” stands out among the other tracks on the album. The pre-chorus presents musical themes of hip-hop, even as guitar thrashes throughout. During the chorus, Kapranos shows off the impressive low end of his range, and the background vocals add another dimension. Franz Ferdinand toys with vocal distortions and heavy drum, walking the lines between many musical genres. The song goes through these waves, yet is constantly striking. Even with all of these features, the track is not overwhelming or cluttered.
Among the many energetic dance hits, there are a few tracks that break up the steadfast pace of the album. “The Academy Award” and “Lois Lane” are gentler songs with similar themes. Kapranos’ vocals are reminiscent of early 20th century crooners and echo powerfully across the ominous tune in “The Academy Award.” In “Lois Lane,” the pace quickens again, and synthesizer takes over the chorus. However, the verses are soft and thought-provoking. The lyrics of both tracks tackle the idea of happiness in life and choices made in order to achieve happiness. The final track on the album, “Slow Don’t Kill Me Slow,” is delicate yet strong and stubborn. Keyboard dances through the emotional five-minute ballad, and layers upon layers of vocals are intertwined with the twinkling notes. Experimental noises build over drums throughout the last two minutes before quietly fading — a surprising yet powerful finale to the album.
Always Ascending is undeniably fun and even theatrical at times. Although Franz Ferdinand originally found their footing as an indie rock band, their talent and experience have been able to propel them into new ground. Listeners may forget some of the electronic dance tracks which fail to be distinguishable, yet many of the tracks will successfully stick in the mind. Ultimately, this album is not necessarily a stand-out record but is enjoyable enough for listeners to want to keep an ear out for the band’s future works. Regardless, the group clearly enjoys what they do and are going to keep doing it.
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