It’s been nearly four years since Franz Ferdinand released its second album, You Could Have It So Much Better, full of tracks that were poppy and very danceable.
At the end of last summer, they finally released the single “Lucid Dreams,” a riff-driven tune that was more akin to their self-titled debut album.
It was also revealed that the new album was to be called simply “Tonight.” That’s all we heard from the Glasgow-based quartet until about a month ago, when the second single, “Ulysses,” was released.
The song leads off the album, kicking in immediately with deep, sinister bass tones from Bob Hardy’s bass and Alex Kaprano quietly humming and almost whispering about that little devil voice in our heads: “I sit and hear sentimental footsteps, then a voice say ‘Hi, so? So what you got? What you got this time? Come on, let’s get high…”
It doesn’t stay quiet for long, however, as a synth kicks in that evokes that mischievousness in us all.
Kapranos and company have said the album is like a crazy night out on the town, most likely under some sort of influence.
As the album progresses, each song offers its own chapter of the night: “Turn It On,” “No You Girls,” “Send Him Away” and “Twilight Omens” evoke going to a club for some sloppy dancing and flirting, until after too many drinks you can’t really dance anymore.
Then comes “Bite Hard,” my personal favorite, which starts as a soft piano ballad with Kaprano’s voice achingly calling out to someone, until once again Hardy’s bass interrupts and launches the song in a new direction.
Then comes the organ, driving and energetic. All of a sudden the lads start singing loudly together, “We ride together! We die together!” Something, I thought, that would come from my friend and I’s mouths as we walked to a party.
On to synth territory now, with “What She Came For,” “Live Alone,” and “Can’t Stop Feeling.” These tracks in essence sound like the Franz we know and love, but with a twist-pulsating synthesizer that adds an almost sinister sound to the otherwise bright rock sound.
This reaches a climax in “Lucid Dreams,” an 8-minute version of the single that shares only some lyrics and is only the same thing for the first half of the song.
The second half consists of trippy synthesizer and heavy effect-ridden guitar and bass. If this is really a night out, this would be the point of no return. “Dream Again” is incredibly similar to classic psychedelic rock band Pink Floyd in its echo-heavy, effect heavy pyschadelia and odd optimistic tone.
The album ends with “Katherine Kiss Me,” a track that sticks out from the rest of the album in a big way. It consists of acoustic, finger-picked guitar and love-ridden lyrics: “Katherine kiss me, in the alleyway by Jakey’s.”
And the album ends on that note. Where does it all fit in to that theme of a crazy night out?
Maybe it’s a different night out, one with your girlfriend, possibly a nice candlelit dinner.
This is a new Franz, nd yet the same old Franz people know and love.
While the album isn’t as good as it could have been considering how long it took, it certainly satisfies.
