Franz Ferdinand
Always Ascending

Time for renewal even for a band as well-established as Franz Ferdinand.

The new (and fifth) studio album (sixth if we consider the collaborative record “FFS” released together with Sparks three years ago), “Always Ascending,” arrives a full five years after the previous (and very successful) “Right Thoughts, Right Words, Right Action.” It immediately presents many novelties, starting with a significant lineup change; out goes the historic (and essential for the band's sound) guitarist Nick McCarthy, and in comes former 1990's Dino Bardot, as well as a valuable addition in the form of multi-instrumentalist Julian Corrie (formerly of Maple Leaves). There are also changes behind the producer's desk, with Philippe Zdar of Cassius joining.

In terms of sound, these changes obviously translate into a decisive renewal, although the effect is not as decisive as one might imagine. The tracks naturally lean towards more synthetic and less guitar-driven territories, as the excellent lead single and title track has clearly highlighted, alongside a reduced emphasis on repeating the typical pop song structure that had characterized the Scottish indie band's production thus far. Nonetheless, there are still episodes where the FF trademark resurfaces, see “Finally” and “Lazy Boy” (which confirms the aforementioned attitude by presenting itself structurally more like a “stream of consciousness” than a typical rock song) and where the work of the new entrant Bardot can be appreciated more. Also notable is the indie/synth rock blend, enriched by a funky groove, of the second single “Feel The Love Go,” which maintains the classic Franz Ferdinand trademark while perfectly representing the blend of the album's two halves.

Even in the softer episodes, Kapranos and company prove inspired, so much so that “Lois Lane” and the closing “Slow Don’t Kill Me Slow,” with their delicate synth and keyboard layers and a melodic inspiration worthy of the band’s best soft episodes (the mind immediately wanders to the sublime “Walk Away”), fully convince. More decisive and concrete work on the keyboards is found in “Paper Cages,” while the vibrant “Glimpse Of Love” is danceable, and the complex and structured (as much as an FF piece can be) “Huck And Jim,” a spectacular indie rollercoaster between punk funk, rap, and college rock with a surprisingly stadium-friendly refrain.

“Always Ascending” fully convinces and constitutes an excellent fresh start for Franz Ferdinand. It remains to be seen whether it can represent the foundation for a future leap into the unknown or if it will remain an isolated hybrid episode in the Scots’ discography. In any case, we'd love to have more transition albums like this one.

A heartfelt “welcome back” to Kapranos and company.

Best track: Huck And Jim