"...how I’ll never be anything I hate..."

Franz Ferdinand have given NME the exclusive comeback interview for their second record, revealing the inside story behind making the follow-up to one of the most successful British debut albums in years. The band reveal that the new album will be untitled and only distinguishable from it's predecessor by a change in colour scheme. FF move away from the traditional dark brown, orange and cream to a trio of black, red and pale green.

Speaking to FranzFerdinand.org earlier this week Alex said, "There's something quite bold about that, as if a title is irrelevant." In this week's NME, he explains further: "They will all be identified by their colour schemes rather than a title. The contrast of colours creates a different mood."

The band are currently deciding on which of the sixteen recorded tracks to commit to the new album, due for release in September. Amongst the shortlist are tracks that regular readers to this site will be aware of: 'I'm Your Villain', 'Well, That Was Easy', 'Walk Away', 'Evil And A Heathen', 'Your Diary', 'You Could Have It So Much Better', 'The Fallen' and 'What You Meant' as well as likely contenders for first single 'Turn It On' and 'Do You Want To? and newly named tracks 'The Outsiders' and 'Eleanor, Put Your Boots Back On'.

Alex concludes, "I'm excited by the new album. It's been exhausting producing it, like the most exhilarating experiences in life can be, but that's great."

I’ve been a supporter of this band, and I really like their first album, but this news both disappoints and bothers me. The whole ‘we will not have a title, we will be bold, everything is irrelevant’ thing I find to be a load of modern art (makes me want to rock out) abstract pretentious philosophical bollocks. I mean, seriously, it’s kind of like, ‘ooh, aren’t we edgy, aren’t we bold, we’re so different and pushing the edges.’ Whatever! Get the fuck over yourselves! What is this, a “concept album”?? And they’ve always been a bit pretentious. In the beginning, they came out and said, "Oh, we're just a pop band, we have no pretensions." But they were pretentious in that way, by asserting that other people were pretentious and that they were better than them because they weren't. And as friends of mine have pointed out, they’re not the first band to do the no title thing, so it’s not as “bold” as he makes it out to be.

I’m not saying that Alex is pretentious. From speaking to him and observing him speaking to others, I can say that I thought he came off as scarily normal and down-to-earth. But this packaging, this concept that the bands is making themselves into is so gimmicky. Let the music speak for itself, why does your album design and title have to make a statement?

And maybe I expected more. They’re so creative that wouldn’t it just seem they would come up with some amazing album title? Sometimes really good album titles are masterpieces in themselves. They can make you laugh (“Hey! Album”), smile (“Feeling Strangely Fine”), or move you (“When Everything Meant Everything”). And don’t we all love the process of opening a new cd and examining the artwork, exploring the secrets hidden in the liner notes and lyrics. I know that the music is what’s important, but the packaging is part of the experience of buying a cd.

Maybe, just maybe, this all wouldn’t bother me so much if I was being blown away by the new material I’ve been hearing. People call the band overrated, and I just don’t care because I like the music. If I liked the music on this album, would I just not care about the packaging? Then again, I’ve been hearing live tracks, and as much as I like them and enjoy seeing them live, I don’t think that their music is at its best live. So I will reserve judgment on the music until the album has come out.

But that doesn’t mean I have to do the same for the lack of title. In laymen’s terms, I think it’s just plain stupid.

All We Need Is Time

Well, I blew it. I went to see The Futureheads last Monday at Webster Hall, replete with Bob Hardy and Paul Thompson from Franz Ferdinand sitting in the balcony. I even went to the after party and spoke to no one. But I have not had a spare second to write about it. I am a failure as a blogger and I’ve just begun. Alas.

It is not too late to mention that Maxïmo Park on Saturday night kicked ass. Even with the vocals too low. Though we did try to tell them, and he did ask for more, and then wished yours truly a happy birthday from stage. Well, I think I deserved that, pimp daddy that I am. They played their entire album minus one track, plus a b-side. With their special hand motion. And Lukas giving us extra attention, since we were the wildest bunch there. And we weren’t even on his side. They just have so much energy and make their music even more fun that it is to listen to on your own. Although, a funny thing happens when they play “my” song…I just want them to play it at least five more times in a row. Oh well, maybe one day I’ll get a private concert. And make them play the same song ten times. *evil*

Last night saw me gigged out at Webster Hall once more, for Bloc Party, full stop. (It’s the logo. Get it?) They started off with an interesting choice, “So Here We Are”, which is a bit mellow for an opener. “Like Eating Glass” followed, and then they got into the heart of the dancing/jumping/stomping repertoire, with all the requisites such as “Banquet,” “She’s Hearing Voices,” "Positive Tension," “Helicopter,” “Little Thoughts,” and “This Modern Love” (the most upbeat melancholy song ever.) “Tulips” was a treat to hear. The set overall was great, despite the fact that there weren't enough vocals (it’s an epidemic in the New York music scene) and we couldn't understand a word they were saying in between songs (and not because of the accents.) Great encore, including “Price of Gas” and “The Pioneers” (which I love.) And then they came back for a second. They played a new song and then “The Answer.” And even after that, Kele came back on stage and started fooling around on the drums, and Matt came to the front to examine the guitar pedal thingies, and then Russell tottered over and bent down to talk to him. And Kele and Matt stage dived. Kind of surreal. Incidentally, my friend MD is convinced that Russell has let the blochead get overgrown like a weed across his face so that he can look at whoever he wants with no one being the wiser.

I made a personal discovery about Bloc Party, however. They’re never going to be one of those bands that I know all the words to all their songs. There are just some songs I don’t like enough to listen through enough times to learn them. But the songs that I love, I LOVE.

Since J always seems to find out where the after parties are, we decided to check it out. First clue that we weren't at The Futureheads after party anymore - dark, crowded, pretentious bar, with pretentious-type people (i.e. not fans like us *sheepish*), and exorbitantly priced drinks. ($10??!! I'll have one, thanks.) The former had been in a neighborhood bar, kind of intimate, drinks just the usual amount overpriced, and people showed up decently soon after the gig was over.

The one thing about this party that made it > than every other after party ever in the history of man - the djs fucking pwnd - this duo who call themselves Tarts of Pleasure (hehe), comprised of Ultragrrrl and KarenPlusOne. But they played some fucking choooooons, man. “Daft Punk is Playing...,” “Rip It Up,” “Hounds of Love,” “Rebellion (Lies),” “Laid,” “Hard to Explain,” “Hotel Yorba,” “Tendency,” “The Boy Looked at Johnny,” “Time is Running Out.” I must be forgetting a few, but just look at that list! I danced so much and so hard and jumped around so much that I couldn't breathe, I had a pain in my side, and my ankles were killlllling me. But it was so worth it. They were so cute, too, dancing around their booth and throwing their hands in the air and singing along, looking for people who were doing the same. And half the time it was me, from across the room. (I never claimed to not be a dork.) I even went over after they played “Tendency” to tell them that they're awesome. (Because, really, who here even knows “Tendency” anyway?!) I want to go to every party they play from now on. I hope they find out about me and the love I am now bestowing on them. You two are amazing and I worship you.

Why d’you have to kill to feel alive?

Saw the 22-20s at the Mercury Lounge last night. I decided to go because I had gotten one of their singles, then heard buzz about them around t’net, was enlightened about “Such a Fool,” and then saw they were playing in New York. I got the album (well, a copy of it – sorry), and really liked what I heard. Luckily, since I’d already agreed to go, hahaha.

What's in a name? According to Time Out New York, “The young Brits in 22-20s took their name from Skip James’s ‘.22-20 Blues,’ in which the bluesman sang if ‘she gets unruly and she don’t wanna do/I’ll take my .22-20, I’ll cut her in half in two.” *raises eyebrow*

I was told they’re a great live band, but that’s really an understatement. (Here we also have a demonstration of what a music dork I am.) We got into the Mercury Lounge, but had to wait by the bar area during sound check. Which is not a private thing, mind, only that the door is closed to the stage area. But you can hear everything. And fuck me, it sounded so damn good. I was jumping up and down, catching snippets of my favorites. All giddy and smiling like an idiot. (God, I’m embarrassing.) But a band that can make you rock out to sound check, you know they’re going to be good.

They played 9 songs, and it was too short, despite hearing all my favorites – “Devil in Me, “Such a Fool,” “Shoot Your Gun,” “Baby Brings Bad News.” Their bluesy, jangly rock gets you jumping, headbanging, and dancing just the tiniest bit sultry. And of course the lead singer won me over when he said, “We’re glad to be back in New York. It’s great to be back in civilization.” (Which probably just means they’ve been touring Hicktown, USA, but I’d like to believe it was implying a difference between New York and the UK. Hey, a girl can dream.) I’ve been to a lot of shows, and seen a lot of bands, and sometimes the degree to which you like the band compensates for how good they sound live. Not necessary with the 22-20s. They do it all on their own.

And I am now a proud owner of a “Why don’t you do it for me?” badge, which just tickles me because of what it sounds like if you don’t know the song. *chuckle*

A band that can make me chuckle AND dance sultry? Definitely my kind of band.