Lorna Irvine thinks the band's latest is overproduced and 'treading water'.
Franz Ferdinand are in a funny position... too famous to walk down the street unmolested, but pretty passe. This, their comeback album, and their fourth, has been four years in the making, and boy, does it smack of desperation- to be hip, relevant, and yet have a commercial hit. Hmmm, a shame then, that after at least a great lead single, Right Action, which is bassy, hooky, naggingly familiar sounding and full of swagger like their debut, they seem to be rather treading water.
With collaborative partners in Canadian composer/producer Owen Pallett, dance music legend Todd Terry and Hot Chip's Joe Godard, they've pulled out every stop, and there are moments which are fun. Evil Eye has some dirty guitar, and a cackle straight from a ghost train, but is still terribly polite. Bullet is more sassy,and at least more danceable- Terry and Godard's influence can be heard here.
The Universe Expanded is an itchy, low-key synth tune which is at least trying to do something interesting- but it just doesn't go anywhere. Goodbye Lovers And Friends sees Alex Kapranos contemplating his own mortality, which is the perfect note to leave on, but it just lacks the freshness it should... a big shrug of a song, to end a kinda 'meh' album.
And therein lies the problem- there is a complacency here- a bit 'will this do?' and after so long, you have to wonder why they bothered. It flounders, with only a couple of memorable melodies.Too many collaborators have spoiled the proverbial, pushing and pulling the band so there is no strong sense of identity, or worse, a by-numbers approach.
In the hands of perhaps, Alunageorge or Grimes as co-writers/producers, imagine the scope of ambition and the sounds they could create.
Musical Sat-Nav required—apply within.
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