Mar 112009
 
Authors: Ian Mahan

Historians would appreciate the ironic attempt to assassinate their career with “You Could Have It So Much Better,” but fans of Franz Ferdinand will appreciate the attempt to steer back on course with their third studio album, “Tonight: Franz Ferdinand.” And steering back on course is exactly what the band does, and so much more.

After suffering dramatically from a sophomore slump, Franz Ferdinand officially redeem themselves with an album that is full of synthesized layers, guitar riffs that are sure to take you out (no pun intended), and drum beats that are geared for a dance floor more than a rock show, though the band does find a chance to offer a neo pop-rock addiction throughout the entire album.

“Ulysses,” the first single off the album is a bass-oriented introduction to the new album with a verse that is similar to that of something Radiohead might produce and a chorus that sounds almost Killer-esque with the words “. La La La La La, Ulysses, I found a new way, I found a new way baby.” The rest of the song subliminally hints at the idea of, “. never going home,” a feat the band seems to have performed with their record.

“No You Girls,” is a dance-rock lyrically sexual song that touches on the idea of “no you girls will never know how you make a boy feel” before dropping into the ballad-rock bridge that has lead singer Alex Kapranos whimpering that he “does stupid things .”

“Send Him Away,” alludes to an insignificant one-night stand and leads you into the synthesizer introduction on “Twilight Omens,” that gear listeners to a confession that Kapranos really can’t get someone off his mind.

“Lucid Dreams,” the longest track on the album starts off with a typical rock song then transitions into a Jimi Hendrix, psychedelic, final four minutes that leave listeners wondering whether or not the CD they are listening to is in fact Franz Ferdinand or a Paul Oakenfold tribute band.

The final song on the album, “Katherine Kiss Me,” is a poorly placed acoustic song that changes the entire tone of the album, but shows a sensitive side to the band and allows listeners to picture themselves going home to a warm bed after a night out on the town in which they have done nothing but dance and drink Red Bull.

Whether this is a rare gem or a hint at a future direction of solid songs with technical guitar riffs, head-bobbing drumbeats, and appropriately used synthesizers, Franz Ferdinand is attempting to show that history rarely repeats itself.

Staff writer Ian Mahan can be reached at verve@collegian.com.

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