As Michael points out, I’ve so far refused the temptation of listening to the preview of Tonight: Franz Ferdinand on their MyFaceSpaceBook, and I think my reasons are pretty justified. For one thing, my pre-ordered 2-disc edition of the album has already been dispatched from Amazon (along with Animal Collective’s Merriweather Post Pavilion). This immediately impressed me – I don’t think I’ve ever pre-ordered an album on Amazon before; if I do want to buy an album as soon as it’s released, I usually prefer to visit my local HMV (other record stores are available!) – because I should hopefully receive the album not too long after tomorrow, which is probably sooner than I could have hoped to visit a record store, judging by my packed schedule for the next few days.
I’ve been anticipating Franz Ferdinand’s third album for a very long time: in fact, pretty much as soon as I had finished listening to their second album, and I’m really hoping it’s been worth the lengthy gestation. Experience tells me that, when my expectations are so high, there is no better way of releasing all the suspense than to wait until I have the physical embodiment of the album in my hands, ready to be played in super stereo, the way it was intended, as opposed to the low bitrate/dodgy ethics of a MySpace listening party or a BitTorrent leak. My case in point is Muse’s Black Holes And Revelations, which was probably my most eagerly-awaited album of 2006. Though I did end up bussing it to HMV on the day of its release – and then promptly heading off to school – by that point, I had already heard it from half a dozen different sources and, in many ways, it wasn’t the best preparation. I had heard it so much, and heard so much about it, that when I actually listened to the thing properly, there were no surprises. I already knew the synthesiser trickery employed in several songs; I was already aware of the conspiracy theories referenced in the lyrics. It wasn’t actually that much fun, and so that’s why I’ve decided that abstinence is the best preparation this time round.
Having written all that, I must confess that, by some indistinct means, I have heard the album-version of “Lucid Dreams”, which is already being referred to as the highlight of the album, and clear proof that the band can take their music-to-make-girls-dance in a faithful electronic direction. Personally, I think it’s a tremendous piece of music, initially swaggering, then mind-boggling, finally hip-shaking and dancefloor-quaking. It’s not a million miles away from the works of Moroder and the like, but it’s still refreshing to hear an updating of the synth-tastic dance music of the 70s from a band who really do know their stuff. Judging by the reviews though, the rest of the album doesn’t entirely live up to the heady heights of “Lucid Dreams”, but I’m still hopeful.
AND IN OTHER NEWS
May I recommend Wilco’s “Impossible Germany”, taken from last year’s Sky Blue Sky album. The band’s sixth studio album was a much mellower affair than usual, taking much more inspiration from more traditional country music. It was critically panned, but one of the highlights in many reviewers’ eyes was “Impossible Germany”. It’s utterly gorgeous, and really shows off the lilting guitar work of Nels Cline. However, to gauge a true impression of Wilco’s more experimental, adventurous work, you can’t do better than getting a copy of Yankee Hotel Foxtrot, which was released in 2002 after various sagas between the band and their former record label. It’s extraordinary.