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The Futureheads - Rant

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Rant

The Futureheads

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While a largely a capella album with songs ranging from "The Old Dun Cow" to Kelis singles could be seen as gimmicky at best and a desperate cry for attention at worst, Rant isn't nearly as far-fetched or contrived as it may seem at first glance. After all, intricate harmonies and vocal interplay have been as essential to the Futureheads' sound as their charging drums and guitars, and their cover of Kate Bush's "Hounds of Love" remains one of their finest moments. Rant provides an inspired showcase for all four of the heads' formidable pipes, particularly on a new version of their own "Thursday," where the gorgeous backing vocals are just as compelling as the main ones, and on the traditional song "The Keeper," where everyone gets a turn at singing lead and dynamic shifts keep things from sounding too traditional. Even better, the album shows off the range of music the band loves beyond the Wire and Gang of Four influences most prevalent in their albums, though the rawness of these performances nods to their punk roots. Some covers are more expected than others: a bit of Richard Thompson's full-throated bray can be heard in the Futureheads' own music, so the lovely version of "Beeswing" here feels like a tribute. However, the real proof of how winning Rant is lies in its surprising song choices. On the Black Eyed Peas' "Meet Me Halfway," Barry Hyde sounds like he's about to burst out of his skin from sheer longing, while the jabbing, percussive version of Kelis' "Acapella" echoes their take on "Hounds of Love" in how different, yet true to the original's spirit, it sounds. They bring mischievous rock opera majesty to Sparks' "#1 Song in Heaven" as they mimic arpeggiating synths with "deedle-dit" vocalizing, and employ an arrangement on "Man Ray" that reveals the underlying complexity the song has always had. Rant goes far beyond any glee club or barbershop perceptions with its reverence and creativity; while it may not change the mind of anyone who thinks a capella pop music is inherently hokey, it's still one of the Futureheads' most exciting albums. ~ Heather Phares

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Rant

The Futureheads

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1
Meantime (A Capella Version) 00:03:16

The Futureheads, MainArtist - Universal Music Publishing Ltd., MusicPublisher

(C) 2012 Nul Records (P) 2012 Nul Records

2
Meet Me Halfway 00:03:04

The Futureheads, MainArtist - Chrysalis Music Ltd., MusicPublisher - BMG Sapphire Songs, i am composing llc, Tab Magnetic Publishing, BMG Ruby Songs, and The Bad Bad Guys administered by BMG Rights Management (US) LLC. / BMG Rights Management (UK) Ltd, MusicPublisher - Frau Pink Music administered by Downtown Music Publishing LLC and sub-administered for the UK and Eire by Kassner Associated Publishers Limited, MusicPublisher - EMI Music Publishing Ltd obo EMI April Music Inc. and Headphone Junkie Publishing, MusicPublisher - EMI Music Publishing Ltd obo Broke Spoke and Gone Publishing, MusicPublisher - Songs Of Universal, Inc./ Printz Polar Publishing/ Universal/MCA Music Ltd., MusicPublisher

(C) 2012 Nul Records (P) 2012 Nul Records

3
Robot (A Capella Version) 00:02:00

The Futureheads, MainArtist - Universal Music Publishing Ltd., MusicPublisher

(C) 2012 Nul Records (P) 2012 Nul Records

4
Beeswing 00:04:15

The Futureheads, MainArtist - BeeSwing Music Via Bug Music Publishing, MusicPublisher

(C) 2012 Nul Records (P) 2012 Nul Records

5
Thursday (A Capella Version) 00:04:11

The Futureheads, MainArtist - Universal Music Ltd., MusicPublisher

(C) 2012 Nul Records (P) 2012 Nul Records

6
Sumer Is Icumen In 00:01:51

The Futureheads, MainArtist

(C) 2012 Nul Records (P) 2012 Nul Records

7
The Keeper 00:01:40

The Futureheads, MainArtist

(C) 2012 Nul Records (P) 2012 Nul Records

8
The No. 1 Song in Heaven 00:04:25

The Futureheads, MainArtist - Imagem Music, MusicPublisher - Warner/Chappell North America Limited, MusicPublisher

(C) 2012 Nul Records (P) 2012 Nul Records

9
The Old Dun Cow 00:02:52

The Futureheads, MainArtist

(C) 2012 Nul Records (P) 2012 Nul Records

10
Acapella 00:02:27

The Futureheads, MainArtist - Shapiro Bernstein & Co. Limited (PRS) o/b/o Rister Editions (SACEM), MusicPublisher - What A Publishing Limited (SACEM), MusicPublisher - BMG Ruby Songs (ASCAP) / The Bad Bad Guys (ASCAP) admin. by BMG Rights Management (US) LLC / BMG Rights Management (UK) Ltd., MusicPublisher - EMI Music Publishing Ltd obo EMI Blackwood Music Inc., Janice Combs Publishing, Inc. and Yoga Flames Music (BMI), MusicPublisher - Issy & Nemo Tunes (ASCAP) admin. by Universal Music Corp./ Universal/MCA Music Ltd., MusicPublisher

(C) 2012 Nul Records (P) 2012 Nul Records

11
Man Ray (A Capella Version) 00:02:20

The Futureheads, MainArtist - Universal Music Publishing Ltd., MusicPublisher

(C) 2012 Nul Records (P) 2012 Nul Records

12
Hanging Johnny (Bonus Track) 00:01:15

The Futureheads, MainArtist

(C) 2012 Nul Records (P) 2012 Nul Records

Descrizione dell'album

While a largely a capella album with songs ranging from "The Old Dun Cow" to Kelis singles could be seen as gimmicky at best and a desperate cry for attention at worst, Rant isn't nearly as far-fetched or contrived as it may seem at first glance. After all, intricate harmonies and vocal interplay have been as essential to the Futureheads' sound as their charging drums and guitars, and their cover of Kate Bush's "Hounds of Love" remains one of their finest moments. Rant provides an inspired showcase for all four of the heads' formidable pipes, particularly on a new version of their own "Thursday," where the gorgeous backing vocals are just as compelling as the main ones, and on the traditional song "The Keeper," where everyone gets a turn at singing lead and dynamic shifts keep things from sounding too traditional. Even better, the album shows off the range of music the band loves beyond the Wire and Gang of Four influences most prevalent in their albums, though the rawness of these performances nods to their punk roots. Some covers are more expected than others: a bit of Richard Thompson's full-throated bray can be heard in the Futureheads' own music, so the lovely version of "Beeswing" here feels like a tribute. However, the real proof of how winning Rant is lies in its surprising song choices. On the Black Eyed Peas' "Meet Me Halfway," Barry Hyde sounds like he's about to burst out of his skin from sheer longing, while the jabbing, percussive version of Kelis' "Acapella" echoes their take on "Hounds of Love" in how different, yet true to the original's spirit, it sounds. They bring mischievous rock opera majesty to Sparks' "#1 Song in Heaven" as they mimic arpeggiating synths with "deedle-dit" vocalizing, and employ an arrangement on "Man Ray" that reveals the underlying complexity the song has always had. Rant goes far beyond any glee club or barbershop perceptions with its reverence and creativity; while it may not change the mind of anyone who thinks a capella pop music is inherently hokey, it's still one of the Futureheads' most exciting albums. ~ Heather Phares

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