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We thought it would be funny to spoof the sounds you got on Queen records or the beginning of Eye of the Tiger. The short staccato bursts of sound – where you hit a cymbal and hold it to stop it resonating – came about because Bob Hardy, our bass-player, had read an article about “sports rock”, the music played at sports games in the US.

The tempo of the chorus was much slower than the verse, so I suggested playing all the verses at the beginning, but slower, then the choruses. It does not store any personal data.The “I know I won’t be leaving here with you” section formed a bridge between the verse and chorus, but when we rehearsed it with the band, it didn’t sound right. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category 'Performance'. This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category 'Other. The cookies is used to store the user consent for the cookies in the category 'Necessary'. The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category 'Functional'.

The cookie is used to store the user consent for the cookies in the category 'Analytics'. These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly. And there’s certainly nothing here that’s going to stop you staggering to the DJ booth and asking, ’Can you play Take Me Out!?’

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Sadly, the ironically titled, Always Ascending, is much like the rest of Franz’s output over the last 15 years – packed full of songs that might sound good on the dance floor this week, or maybe even this month, but won’t be sticking around for any longer than that. The record’s stand out moment recalls the first minute of Jacqueline (from their debut LP), as Kapranos does his best Scott Walker impression on the hauntingly charming, The Academy Award – ‘We’re starring in the movies of our lives, and the Academy Award for good times goes to you.’ Before the record slides back into its faux-disco comfort zone with Glimpse of Love and Feel the Love Go. Is it personal choice? Personal conviction? Or are you living like me in paper cages?’ But despite the passionately delivered, cutting subject matter, Paper Cages once more fails to feel like a song that will truly resonate.

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Clearly as in touch as ever, Kapranos sings – ‘Well we’ll never be free if our incarceration is a story we tell- a tale of invention. What also set Franz Ferdinand apart in the early days was Alex Kapranos’ witty, socialist intellectualisms – a theme touched upon on Paper Cages (a song they recently performed live on The Andrew Marr Show). Never gettin’ up in time, I enjoy being a lazy boy’), and its guitars, despite McCarthy’s departure, are simply Franz-by-numbers. But, again, its lyrics are – ignore the pun – lazy ( ‘I’m a lazy boy, I’m a lazy boy. A collaboration that makes total sense and whose influence is felt throughout – not least through the sparkling synths of Lazy Boy. Featuring an extended intro of pianos, hushed drum machines and the repeated backing vocal hook of ‘put your ladder down’, the album edit certainly benefits from the breathing space, before building into a predictable, repetitive (and rather annoying) disco stomp.Īs well as the change in lineup, Always Ascending saw the band team up for the first time with producer, Philippe Zdar (Phoenix, The Rapture, Cut Copy). Five years on from their last record, Right Thoughts, Right Words, Right Action, they are back (minus founding member, Nick McCarthy, who’s been replaced by Julian Corrie aka Miaoux Miaoux, and ex-1990’s guitarist, Dino Bardot) with a new LP, Always Ascending.Īlways Ascending opens with its title track and the record’s lead single. But after almost four million sales world wide and a Mercury Music Prize win for their debut album alone, Franz have never really followed up the promising start to career. From the glut of bands to choose from, one in particular stood out among the crowd, thanks mostly to their crossover anthem, Take Me Out – a bonafide indie anthem that, to this day, is still a guaranteed floor filler. In 2004, British guitar music was soaring – the charts were dominated by independent groups and the NME’s ‘New Rock Revolution’ was looking like it would create a long lasting legacy.

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