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Archive for the ‘Foals’ Category

[DID NOT ATTEND: December 14, 2022] Foals / Inner Wave / Glove

Back in 2008, Foals were a weird indie rock band.  Cryptic, with odd instrumental passages.  By their third album, Holy Fire, they had ditched all of that for huge bombast.  But it was still great, “Inhaler” was my favorite song of the year, getting bigger and bigger until it somehow exploded.

I kind of forgot about them, and then heard that they were releasing a two part epic: Everything Not Saved Will Be Lost.

In 2022, they released their most recent album, Life is Yours, recording now as a trio.  I actually hadn’t heard anything from the album.

I had tickets to see the Lemonheads that night.  And I really wanted to see them, so Foals would have to wait until next time.

Although now that I check the setlist, I think that Foals show might have been the better bet.  Maybe.

Inner Wave was going to open for Chicano Batman when I saw them in 2020, but when the show was rescheduled, there was a new opening band.

Inner Wave is a five-piece ensemble, and three of the bandmates – lead vocalist and guitarist Pablo Sotelo, bassist and vocalist Jean Pierre Narvaez, and guitarist and keyboard player Elijah Trujillo – go all the way back to middle school. Some back-in-the-day homies left the band in 2016, and keyboardist Chris Runners and drummer Luis Portillo joined the group. [They are] an indie rock quintet who seamlessly float between psychedelic and synthwave sounds.

I can see them opening for Chicano Batman with their retro sounds and soft vocals.  I don’t exactly see it working with Foals.

Glove opened for A Place to Bury Strangers, a show I did not go to.  Glove is a retro synth band, in the vein of Depeche Mode or New Order.  They’re from Tampa but look like they are straight out of the 80’s UK music scene.

I don’t quite see them opening for Foals either, unless the new Foals music is a lot more synthy.

 

 

 

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peach SOUNDTRACK: FOALS-Holy Fire (2012).

I foalsloved Foals’ debut album Antidotes, it was a modern rock/prog rock/dancable mashup with angular guitars and all kinds of weird time signatures.  Then Foals returned with a new album which I haven’t heard anything of, except to have heard that it was very different.  Then I heard “Inhaler” from this album and I loved it.  It was easily in my top ten songs of 2012.

But it was so different from the Foals of Antidotes that I wasn’t sure what to make of it.  And in fact, that Foals, with all of their angularity, has been replaced by this much dancier version of the band.

“Prelude” is like an extended intro to “Inhaler.” It’s 4 minutes of intro music with chatter and noises.  Then comes “Inhaler,” a slow building song that rises and falls, rises again then falls again and then bursts into a big rocking chorus.  It’s fantastic, it feels louder than is possible for such a song.  “My Number” introduces some of that unusual staccato song style but in a far more dancey framework. The synths are louder and bolder.  I really like this song.   “Bad Habit” is a far slower song, but it’s a nice tempo changer.  And the chorus is still catchy.

“Everytime” brings in more shoegaze elements (so let’s see, there’s angular punk, shoegaze and dance music here).  This song even has a discoey chorus.  “Late Night” and “Out of the Woods” feel even more dancey than the earlier tracks–with a kind of earlier 80s British alt rock flavor–spiky guitars and exotic percussion.  I hear some of the guitar sounds of early U2 as well, especially on the intro of “Milk & Black Spiders” (the rest of the song sounds nothing like U2.

“Providence” brings back some of that louder guitar, coupled nicely with a combination of shoegaze and screamy vocals.  The heavy guitar plays a very nice counterpoint to the picking of the second guitar.  It’s the last great song on the record.  “Stepson” is a slow song, the slowest on the disc, and I fear that it rather runs out of steam.  “Moon” continues the slow drifting sense of the end of the album.  It’s pretty song, but it feels so far removed from “Inhaler” that it seems to be from a different record.

So I’m not entirely sure what to make of this record.  It has a few great songs, and then a number of songs that seem to want to go in a different direction, but what direction that might be remains unclear.

[READ: September 6, 2014] “The Happy Valley”

Lucky Peach 10 is “The Street Food Issue,” and it is a fun issue with all kinds of interesting food you can buy on the street (and recipes to try them at home).

Like food in tubes.  Take “Sausage Quest” (what the locals do with their various sausages all around the world), or “I Went to Thailand and All I Got was a Sausage Stuffed in My Mouth” (I can’t wait to make sausage blossoms).  Beyond sausages there’s a list of the most compelling street foods around the world from New York to Naples to Tunisia. We look at street food vendors in Malaysia and South East Asia.  And then we meet the Lucha Doughnut Man of East LA (Mexican donna vendor by day and masked wrestler by night).

Then there’s some articles that are not about food.  Like the surprising article about the microbiology of used cigarette butts (no butts were eaten).  Or the very interesting history of charcoal (which dates back to Henry Ford).  I had no idea charcoal came from trees.   There’s an essay about rapper Jibbs and his song “Chain Hang Low” which was apparently ubiquitous in 2006 although I don’t know it).  The essay discusses how it used “Turkey in the Straw” as a motif.  Most likely, he took it from the ice cream trucks that he heard as a kid, but there is a whole history of racism packed in to that song, let me tell you.

I enjoyed the idea (throughout the issue) that if you’re in a new place, sometimes you can’t always trust reviews for what’s good, you just have to trust your gut (and your nose).

Then there’s several articles about corn.  Making tortillas or masa–the whole process of nixtamilization.  (more…)

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cousinkSOUNDTRACK: FOALS-“Inhaler” (2013).

foalsinhalerI really really liked Foals debut album.  It was weird and off-kilter and was one of my favorite albums of that year.  I had heard that their follow-up was very different, less weird, more conventional, and I have yet to hear it (narrow-minded, I know).  But then I heard that their new album was really great.  “Inhaler” was the first song I heard.

Man, do I love it. The song opens kind of funky with some noisy echoed guitars.  After a few verses the bridge comes in and the big excitement of the song comes when he gets to the chorus, “I can’t get enough SPACE!”  It’s not so much that he yells “space,” which he does, it’s more the way the whole song explodes with a new exciting riff and it just seems to get bigger and bigger. It blows me away every time.

After the first chorus we drop right back to that falsettoed slow verse delivery.  And the song slowly builds back up again.  The length of the bridge as you anticipate the big chorus is just excruciatingly wonderful.

[READ: April 5, 2013] Cousin K

I found this book when I was cataloging it at my job.  I don’t know what grabbed me about it (there’s nothing special about the cover).  I think it may have been the French Voices label in the corner (and its brevity).  I thought, hey why not read a contemporary French novella for something different.

Well, to my surprise, that is not what I got.  Indeed, nothing in this book is as it seems.

Yasminia Khadra is a pseudonym for Mohammed Moulesshoul.  He chose the name to avoid military censorship (that’s all the book says, I don’t really understand what that means).  Moulesshoul was born in the Algerian Sahara.  He is now retired from the military and is living in France.

But so, instead of this being a story from a French woman, the story is actually from a Male Algerian.  Which doesn’t really matter in the long run, but I assumed that the narrator was a girl (based on the “author = narrator” theory that is an easy shortcut in fiction.  This was really only confusing because the narrator is unnamed for quite a while in the book.

But what a book.  In just 80 some pages, Khadra turns in a  fascinating psychological picture of neglect and psychological abuse.  But it is such an elliptical book that there are almost as many questions as there are answers.  It is this elliptical style which provides some of the confusion, but a lot of the interesting structure of the story. (more…)

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SOUNDTRACKFOALS-Live on KEXP, May 30, 2008 (2008).

I really like Foals’ debut album, Antidotes and this short concert is all about that album.  They play four songs from the record and a fifth intro-type song called “XXXXX.”  The band sounds great, playing their complex rhythms perfectly.

“The French Open,” “Heavy Water” “Red Socks Pugie,” and “Electric Bloom” all sound remarkably similar to the record (not exactly, but amazingly close given the technical nature of the record).  The one distinguishing feature of this show is that the backing vocals are a little more prominent.  This actually gives the songs a slightly more ghostly sound.  Of course the angular math-rock of the album is still present in all of these cool songs.  The band is not very talkative, which is fine, since the music is what matters.

It’s interesting that the band says they prefer recording and creating to playing live.  They sound great live but you can definitely hear the joy they had in creating the record. The live session is here 

[READ: November 21, 2012] “Demeter”

Here’s another wonderful story from Maile Meloy.  In continuing with her excellent streak of simple stories about families (especially mothers and daughters), we have “Demeter” (I never know how to say that name).

This story differs from many of her other stories for a reason I can’t quite put my finger on.  It feels lighter somehow, although it’s not exactly a happy story.  Perhaps it’s that it seems so concerned with the weather and the elements, rather than the routines of the characters?  Whatever the case, the story is very much about the characters, specifically Demeter, a middle-aged mother of a thirteen year old daughter.

When Demeter and her husband divorced, she decided that the best custody arrangement would be that each parent received custody of Perry Mason (their nickname for their daughter because of her hard stare as a baby) for six months at a time.  On this particular day, Demeter is dropping off Perry Mason at her father’s for the next half a year. (more…)

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SOUNDTRACK: FOALS-Antidotes (2008).

This CD had been getting a lot of buzz just before I ordered it. And then, the day after I ordered it I saw a review that really trashed the record. Uh oh, I thought.

But then I played it. Aside from the cover, which I can’t stand, there’s nothing I dislike about the disc. Immediately, I thought it sounded like a cross between King Crimson and Gang of Four. And then I heard more sax and had to add X-Ray Spex in for good measure.

The guitar lines as the disc opens sound so much like they could be King Crimson song…and this continues throughout the record…and then when the rhythm guitars come in you think, oh, Gang of Four (or the Futureheads if you must). And then you hear them together and it blows your mind a little bit.

For those of you who live in the twenty first century, the CD probably sounds closest to Modest Mouse: angular guitars, somewhat shouty vocals, but they don’t have the fluidity that Modest Mouse has. Not that that’s a complaint, just an observation. I’ve listened to this CD a bunch of times now, and I don’t dislike anything on it. Each listen brings out someone new that I hear. One of the reviews I read suggested that they used to a more prog rock band, but were giving up that aspect of their music. And yet, if you reference King Crimson, it’s impossible to think you’ve given up prog rock. I don’t know what The Foals describe their music as, and it is totally not for everybody, but I think it’s pretty wonderful.

[WRITTEN: Some time in the late 1990s] Complex Sentence.

In my previous post (Sister Bernadette’s Barking Dog) I said that I had written a short story about diagramming sentences. I took some creative writing classes a decade or so ago, when I had a lot of free time. I churned out quite a few stories, and then hit the wall that is job, family and kids. Sadly, I don’t have exact dates for when I wrote these stories (what kind of writer doesn’t keep track of when the stories were written for pity’s sake). But maybe if I can ever hack into more poor old Macintosh and uncover the original files it will give me some idea of their origin.

And so, the critic exposes himself to the critics. (more…)

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