The Futureheads

On their eponymous debut, the Futureheads played like there was no future. Everything they had they threw into that recording studio and, as a result, the album is proof of the dangers of indie-mod excess, artsy punks with a clever sense of humor and elaborate four-part harmonies run amok. Maybe...

By Andrew Marcus

June 22, 2006

[
        {
          "name": "Air - MediumRectangle - Inline Content - Mobile Display Size",
          "component": "18855504",
          "insertPoint": "2",
          "requiredCountToDisplay": "2"
        },{
          "name": "Editor Picks",
          "component": "17105533",
          "insertPoint": "4",
          "requiredCountToDisplay": "1"
        },{
          "name": "Inline Links",
          "component": "18349797",
          "insertPoint": "8th",
          "startingPoint": 8,
          "requiredCountToDisplay": "7",
          "maxInsertions": 25
        },{
          "name": "Air - MediumRectangle - Combo - Inline Content",
          "component": "17105532",
          "insertPoint": "8th",
          "startingPoint": 8,
          "requiredCountToDisplay": "7",
          "maxInsertions": 25
        },{
          "name": "Inline Links",
          "component": "18349797",
          "insertPoint": "8th",
          "startingPoint": 12,
          "requiredCountToDisplay": "11",
          "maxInsertions": 25
        },{
          "name": "Air - Leaderboard Tower - Combo - Inline Content",
          "component": "17105535",
          "insertPoint": "8th",
          "startingPoint": 12,
          "requiredCountToDisplay": "11",
          "maxInsertions": 25
        }
      ]

On their eponymous debut, the Futureheads played like there was no future. Everything they had they threw into that recording studio and, as a result, the album is proof of the dangers of indie-mod excess, artsy punks with a clever sense of humor and elaborate four-part harmonies run amok. Maybe they never believed they'd get this far. Maybe that's why their sophomore turn, News and Tributes, feels like an answer to that.

Under the influence of producer Ben Hillier (Depeche Mode, Doves), the Futureheads have opted to do more with less, manipulating space and pace. Their post-punk riffs still dominate tracks like "Cope" and "Yes/No," and the skins-happy "The Return of the Berserker," but there's a complexity to their sound here, a texture that's entirely new and is no more evident than on their back-and-forth between solo and harmony that can turn poignant but pedestrian lyrics like the ones on "Burnt" and "Back to Sea," both tales of collapsing relationships, into anthems where anthems shouldn't be. In the middle of all this restraint, you get "Skip to the End," sort of a follow-up to "Decent Days and Nights" and News' most ridiculously contagious track. It's like they're daring you to not bounce your head.

Become A Member

BEFORE YOU GO...
Can you help us continue to share our stories? Since the beginning, Dallas Observer has been defined as the free, independent voice of Dallas — and we'd like to keep it that way. Our members allow us to continue offering readers access to our incisive coverage of local news, food, and culture with no paywalls.