I normally view a capella as an insipid form of music. Unless you are an authentic barbershop quartet, singing in unison or in rounds comes off as corny, superfluous, not to mention nauseating. The Futureheads have changed all that. These U.K. boys make “do-dos” and “ahs” sound harmonious in an avant garde way. The foursome employs their vocals as the integral instrument within a post-punk backdrop. With their thrashing guitars and pulsating bass lines, they remind one of Gang of Four (especially since Gang of Four’s Andy Gill produced some tracks). Yet, their acute sense of melody and pop fervor will remind you of beloved bands that are mainstream catchy, but contain some thread of artistry. I hesitantly confess that 80’s Aussie group, Men at Work, whose artistry is debatable, repeatedly pops into my head, especially on the track “Meantime”.
I might be alone considering that comparison,...but anyway, that’s the beauty of The Futurehead’s debut album. Their songs remind you of decades past. You can’t always pinpoint the exact influence because their progressive sound subtly combines punk, pop, a capella, and even those dramatic interjections heard in musicals. On the opening track, “ Le Garage”, the title phrase gets repeated in both sonorous and cocky tones making for a quirky hybrid of punk cynicism and musical earnestness. There is a repetition of the word “bullshit” that within the melodic context of the song seems an urbane declaration. “Danger of the Water” begins as a tranquil ballad with the lead vocals sounding reminiscent of a mousy Damon Albarn, but it quickly gains speed with all members yelling “Danger! Danger! Water! Water!” transforming the song into an epic single.
The Futureheads stand apart from other current bands, not only with their vocal stylizings. More importantly, they change the way I bob my head. While listening to this album, my head bobbing veers away from the traditional response it has to other post-punk groups: the monotonous up and down trajectory. Instead my head responds with a gentle yet fervent side- to -side bob that does not let up until the end of the frenetic art expository, “Man Ray”, although there are times when it does get less energetic. The tedium produced by “Trying Not to Think About Time” leaves me doing just that as I wonder how many more dull moments of the track are left.
But once that track reaches its end, my head passionately sways once more to the initial euphonious “Ohs “ and “Ahs” of the Kate Bush cover, “Hounds of Love”. This version displays fidelity to the original, duplicating the strange ethereal vocals while also making the song more accessible by mixing rough edges with the straightforward pop elements that Bush understated in her recording. It’s what the Futureheads do best. They pay homage to their various influences, but never simply reiterate their influences’ work. Instead, they steadfastly rely on a novel approach: a melding of voices that create pleasantry in chaos, and chaos in pop music. |