An EP dedicated to victims of the Paris attacks shows the Foos are on defiant form
We Are Scientists: With Love And Squalor
A debut of one dimension, but hey – it’s a good one
The stand out track on ‘With Love And Squalor’ is doubtless ‘The Great Escape’, boasting a guitar riff so massive Steve McQueen himself would be hard-pressed to clear it on motorbike, but would likely flatten against the side like a puppy hitting a suburban SUV. Each of the Scientists seem to be striving independently to create one of the most engaging indie dancefloor-crashers of the year, in a standoff that somehow coalesces neatly into the stoic chorus “I got a great idea/I’m going to wait right here/While everything is adding up.”
To whet your appetite for that, there’s the lesser success in a similar vein of album opener and first single ‘Nobody Move, Nobody Get Hurt’, another heart-quick crescendo of oblique excitement, with a nicely suggestive cut to it. But the near-relentless pace of the album is bound to grow tiresome unless you happen to be in the gym ‘pushing through the burn’ or ‘feeling the zone’ or whatever the hell happens in those places, and when a moment of slight reprise does come – for example, with the more maudlin ‘Textbook’ – the album flounders at a formula the Scientists have yet to fully master.
The lyrics, in their more lucid moments, seem content noodling round the highs, lows and infatuations of the New York party scene, which isn’t exactly the road less-travelled; if We Are Scientists manage to exhibit in their music more of the gloriously quirky sense of humour that’s rife in their videos and on their website, we might get to something more distinctive and memorable. In the meantime this is still an accomplished pack of coiled, brash rock with a jarring energy softened by a catchy way with a tune.
The Radiohead guitarist explores traditional Indian music, with mostly impressive results
This London producer has worked with Madonna and is releasing his excellent debut as a sex toy
10 Tracks You Need To Hear This Week (20/11/2015)
A second album of twisted futurism from Björk’s right-hand man