The Futureheads
Powers

Seven years after the disastrous and incomprehensible a cappella experiment of “Rant,” another anticipated reunion is taking place in the indie universe—the return of Ross Millard's Futureheads.

The leader of the Sunderland band has battled for several years with bipolar disorder, and as one might easily imagine, this has heavily influenced the career trajectory of the British quartet, which now attempts a comeback with this new “Powers.”

No experimentation this time, thankfully: the four former prodigies return to the angular and tight guitars that made their fortune at the beginning of the last decade, particularly with their self-titled debut masterpiece. Clearly, the freshness and inspiration aren't what they were ten years ago, but the conviction level is excellent, and Millard and company deliver a comeback on all fronts.

Opened by the dark and tight lead single “Jekyll,” the work continues with the more mid-tempo “Good Night Out,” a truly catchy and immediate single (a slight Weezer-esque tint in the melody helps a lot). “Animus” is, hands down, the best thing to come from the Futureheads in years; sharp, concise, perfectly guided by Millard and Hyde’s guitars.

Guitars that clash with each other as they did in the good old days in several more than convincing tracks (“Headcase,” “Don’t Look Now,” and the third single “Listen, Little Man!”), and even when the boys slightly press the derivative side (“07:04” has a strong scent of The Strokes, “Stranger In A New Town” pays homage to Elbow while the stunningly furious outburst of “Across The Border” is like a head-on collision between Blur's “Modern Life Is Rubbish” and the very early The Streets”), they certainly entertain.

“Mortals” closes with a slight sprinkling of kraut, and there’s not a single dull moment in this “Powers,” a fun, well-written album performed with conviction.

An album that refreshes the British band, giving them a fresh start and instilling hope for a less turbulent future.

Best track: Animus