Shimmering with hazy atmospheric electro-undertones, blissfully indulgent plunging basslines and punctuated with evocatively obscure guitar riffs, Oxford-hailing math rock quintet, Foals, strode resolutely into Britain's underground music scene with extracts of their enigmatic and quirk-laden sound in its most stripped-back form with 'Antidotes' back in the spring of 2008. With an album of lyrical and thematic exuberance and unparalleled instrumental dexterity, the offbeat indie ensemble secured themselves a position on the global music radar, and with two since records of equal acclaim ('Total Life Forever' and the recently-released 'Holy Fire'). Its simplistic and uncluttered vibe coupled with ambiguous cryptic complexity is arguably what underlines this record as a modern masterpiece and has catapulted Foals into the forefront of industry and listeners' attention. So what exactly is it about this album's penchant for peculiarity that made Foals such a cult hit?
Immediately setting a calming, yet audacious tone to the record, the five-piece instigate the album's instrumental angularity with the gorgeously smooth and understated album opener, 'The French Open', its name arguably linking in with the famous annual Parisian tennis tournament, which was initially named after pioneering French aviator, Roland Garros. This contextual depth alone gives strong and thought-provoking connotations of freedom and flying, linking in with the generally melancholic feel to the album. Infused with subtle retro-electronic undertones, a brass section and an overall eloquent vibe, this track sets the album apart from anything previously heard, oozing originality and creating an unrelenting desire to delve further into the inner quirks and oddities of the record. Continuing the obscurity, the track leads seamlessly into 'Cassius', a guitar-driven, infectiously danceable number with heavy brass influences working harmoniously with the typically math rock twanging guitar intervention. Lead singer, Yannis Philippakis' zealous, strongly-accented vocals really bring this track to life; it's hard not to be drawn in by his distinctive drawn out, raspy style as he plunges into the song's chaotic chorus: 'Cassius it's over, Cassius away, Cassius these daydreams, these daydreams, OK.'
Continuing with its sparse, dreamy ambiguity, the album progresses into its third single, the interestingly-named 'Red Socks Pugie', a dynamic and outspoken lament of regret and mental exasperation, its relentlessly echoing drum beat backing interspersed with reverberating electronic undercurrents and an intriguingly out-of-step bassline, painting Philippakis, along with drummer Jack Bevan, guitarist Jimmy Smith, bassist Walter Gervers and keyboardist Edwin Congreave, as hedonistic pioneers of their math rock genre. Calming and thematically-illustrative, fourth single 'Olympic Airways', possesses a serene, ethereal quality. This track most definitely exemplifies Bevan's description of there being a 'weird ambience' to 'Antidotes'; I can only liken it to the refreshingly idyllic and introspective experience of walking along a deserted beach at sunset. Most definitely a stand-out track from the album, the gentle rise and fall of the electric guitar and gravitas of the bass channels a vibe of subliminal freedom and carelessness that Foals are so adept at conveying, summed up by lines such as 'this is how we build a place, an aviary for today, an aviary for today.'
What is particularly impressive about this album is its versatility. Whilst it would be the type of album I would quite happily listen to sealed off from the world in the solitude of my bedroom, it also boasts a real anthemic vibe, with an underlying zest and energy that would be perfect for the summery euphoria of a music festival. No exception to this is the first single to be lifted from the record, 'Balloons,' once again carrying the theme of flying and aviation and motif of relationships, with a conflicted, yet harmonious feel. The unorthodox guitar in this song compliments Yannis' repetition of 'we fly balloons on this fuel called love' and would no doubt be an exhilarating experience in the mass of an alcohol-laden festival crowd. The grounded funk-esque groove of later tracks such as 'Heavy Water' adds a gritty, abrasive feel to the record to contrast with its previous lightness, exuding the band's instrumental prowess.
'Big Big Love (Fig. 2)' emulates the sound of a wind chime through its guitar, working melodiously with Yannis' staccato vocals, adding a beguiling quality to the latter half of the album and giving listeners the breather they need after the depth and thought-provoking intricacy exhibited throughout so many of the album's songs. Rounding off Foals' beautifully symbolic, recollective endeavour with a sense of accomplishment is the crescendo-building 'Like Swimming' and electronically-infused 'Tron', both of which vividly highlight the interest and intrigue of the math rock genre and add a romanticised sense of wonder and thoughtfulness to the record. What is a massively unique, promising and creatively-crafted set of songs is finished on a high with the slow-building guitar riff of the final track, sealing its brilliance with an almost chilling chant of 'if something won't heal' and closed with a striking brass section.
A feat not often achieved by many bands, Foals continued their streak of success and critical acclaim with their 2010 follow-up album, 'Total Life Forever', which was laced with all the same atmospheric thoughtfulness and experimental style, but still managed to illustrate their growth and maturity as musicians. Narrowly missing out on the 2010 Mercury Prize to The xx, Foals' sheer impact and presence within the industry has most definitely become apparent in recent years. Their hotly-anticipated third album, 'Holy Fire', released in February 2013, signals a slightly heavier, more rock-orientated diversion, but it's incredibly encouraging and inspiring to hear their signature math rock style still resounding. Tinged with new exploration, development and experimentation, 'Holy Fire' will surely see them catapulted from their fresh-faced beginnings into the indie music stratosphere in years to come. I for one am massively eager to watch them grow even further as they unveil what else they have to offer as the revolutionary 'Holy Fire' era ensues.
A feat not often achieved by many bands, Foals continued their streak of success and critical acclaim with their 2010 follow-up album, 'Total Life Forever', which was laced with all the same atmospheric thoughtfulness and experimental style, but still managed to illustrate their growth and maturity as musicians. Narrowly missing out on the 2010 Mercury Prize to The xx, Foals' sheer impact and presence within the industry has most definitely become apparent in recent years. Their hotly-anticipated third album, 'Holy Fire', released in February 2013, signals a slightly heavier, more rock-orientated diversion, but it's incredibly encouraging and inspiring to hear their signature math rock style still resounding. Tinged with new exploration, development and experimentation, 'Holy Fire' will surely see them catapulted from their fresh-faced beginnings into the indie music stratosphere in years to come. I for one am massively eager to watch them grow even further as they unveil what else they have to offer as the revolutionary 'Holy Fire' era ensues.
Cassius - Foals
Olympic Airways - Foals
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