BLOWIN' INDIE WIND The Futureheads

Author: Richard Lawless

People like their music to be uncomplicated, straightforward and fun. Cue the Futureheads. They didn't make my "Best of" list, but I only had six slots, so that was a problem in and of itself. Certainly the Futureheads didn't impress me with their artistic endeavors, but they're f**king fun as hell. Their debut self-titled album came on the Franz Ferdinand wave of catchy Anglo garage rock to generally receptive ears this past year. Yet I wouldn't toss them off as just another garage rock act. Where the Strokes are boring and can barely play instruments, the Futureheads actually have some talent behind their music. When you break down the Futurehead musical formula, it's actually pretty weird. There's a notable reggae influence in the vocals, which, depending upon your cynicism level, means they listened to a lot of reggae, or a lot of the Clash. There's also a massive a capella influence in the vocals, with deceptively complex voice arrangements scattered throughout the songs (heard most prominently on the doo-wop rave-up "Danger of the Water"). Though any musician will agree that vocals are an instrument, the Futureheads actually treat them as one, singing with such annunciation and premeditated emphasis to give them a percussive, nervy presence that wonderfully reflects the claustrophobic, tight, rhythmic guitar work that hearkens back to twitch rockers Devo and The Feelies. Everything about this band is just bouncy. It's like every note in their songs is staccato, which makes for an infectious and invigorating listen. Couple this with the fact that each song hurtles along at breakneck speed, and you've got one jittery album.

One of the album's strongest tracks, "A to B," begins with the crooning of the song's title over pounding drums and blaring guitars. Repetitive, yes, but for only about three seconds, as the Futureheads continuously change up the rhythm, dynamics, guitar licks, and vocal arrangements. This is the perfect album for people with ADD. Or ADHD. I'm pretty sure the band has the latter, as they can't hold still for a second. Seriously, I think each band member drank like 18 cups of coffee before entering the studio. Take the bouncy "Decent Days and Nights," as they rhythmically chant "If you work it out / Tell me what you find / We can work it out / Tell me what you find" over guitars perfectly synched to the beat. And then the song's over before you know it. "Meantime" is one of their catchiest songs, as a jittery, muted guitar lick complements the childish, simplistic lyrics, "It's easy to try / It's easy anytime / We can talk / If you like / Let's forget it / For the meantime" before transitioning into an impressively complex system of vocals chanting various lines, impeccably timed, and - you guessed it - bouncy as hell.

The Futureheads naturally have an inclination for British influences, dabbling in everyone from Duran Duran to the Clash, but the Kate Bush cover of "Hounds of Love" - the album's penultimate track - is still an odd choice. Yet it works, because the Futureheads give the song their trademark nervy treatment, with bouncy backup vocals galore. In fact, you'd never guess that they didn't write the song, as it blends in so seamlessly with the rest. The album ends with the pounding, thrashing "Man Ray," which features a screaming vocal chant that spirals out of control as the drums and guitars relentlessly bash out noise. At fifteen songs clocking in under 40 minutes, you're left wanting more. A lot more. But have no fear. I'm sure they're drinking coffee as I'm writing this, and walking around like weird jittery robots, writing more songs.