Lingua disponibile: ingleseFoals emerged in the late 2000s with an off-balance indie rock influenced by catchy new wave, math rock, and atmospheric post-rock. It proved a successful formula; their first album, 2008's Antidotes, reached number three in their native U.K. Over the next decade, they developed a distinctive balance between jittery dance rock and spacy atmosphere on albums such as 2013's Holy Fire, which marked their American chart debut. Formed in Oxford, England, by longtime friends Yannis Philippakis (guitar) and Jack Bevan (drums), along with Andrew Mears on vocals, guitarist Jimmy Smith, and bassist Walter Gervers, Foals -- whose name is a play on the etymology of Philippakis' name -- began as a way to protest against the proggier sounds that were both popular in Oxford and in Philippakis and Bevan's former band, the Edmund Fitzgerald. After releasing the single "Try This on Your Piano" in 2006, Mears left Foals in order to more fully concentrate on his other group, Youthmovies (formerly Youthmovie Soundtrack Strategies), and Philippakis -- who had lived until he was seven in a tiny Grecian village -- added the role of lead vocals to his guitar-playing duties. Edwin Congreave, a fellow Oxford student the frontman had met when they were both working at the same bar, and who introduced the group to techno, soon joined in on keyboards, despite the fact he had never played the instrument before -- nor ever been in a band -- and the full lineup of Foals was completed. The quintet worked on perfecting its complex sound by playing house parties around the area, and soon the group was signed to Transgressive Records, which released the singles "Hummer" and "Mathletics" in April and August of 2007, respectively. Foals picked up quite a buzz in the U.K., and in June 2007 they went to New York to record their debut album under the guidance of producer and TV on the Radio guitarist Dave Sitek. The sessions went well, but the bandmembers ended up not being happy with the final mix, choosing instead to remix it themselves, and issuing the full-length, Antidotes -- which, incidentally, included neither "Hummer" nor "Mathletics" -- in March of 2008, while Sub Pop picked up the album in the U.S. and gave it an April release, adding the two neglected singles as bonus tracks. Two years later the band returned with its sophomore album, Total Life Forever, released by Transgressive Records. After having songs appear on shows like Entourage and Misfits, the band returned in early 2013 with its third album, the expansive Holy Fire, Foals' first record to chart outside of Western Europe, cracking the Billboard 200 in the U.S. and topping the album chart in Australia. A concert DVD/Blu-ray, Live at the Royal Albert Hall, followed that fall, and picking up where Holy Fire left off, What Went Down arrived in the summer of 2015. They toured Europe and the U.S. in 2016, including shows with Everything Everything as support, and returned to the studio in 2017. Early the next year, the band confirmed that founding member Gervers had left the group on amicable terms. Other members filled in on bass in remaining sessions. Foals re-emerged in 2019 with their fifth and sixth studio LPs, Everything Not Saved Will Be Lost, Pt. 1, which arrived in March and peaked at the number two spot on the U.K. Albums chart, and Pt. 2, which was released later that October.
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Musica alternativa e indie - Uscito il 08 marzo 2019 | Warner Records
Musica alternativa e indie - Uscito il 28 agosto 2015 | Warner Records
Rock - Uscito il 08 marzo 2019 | Warner Records
The first installment of a double LP, Everything Not Saved Will Be Lost, Pt. 1 delivers on the promise of past Foals outings like Holy Fire and What Went Down, pitting laser focus and wild abandon against each other in the group's most versatile collection of songs to date. The album's A-side comes off like a dance party on the deck of the Titanic, administering locomotive-like basslines and shadowy though no less propulsive beats, and pairing those rhythms with caustic and cautionary lyrics that invoke zeitgeisty anxieties like ecological disaster ("Exits") and infobesity ("White Onions"). That feeling of being overwhelmed looms large over the proceedings, with the anthemic and penultimate cut "Sunday" serving as the lone beacon of hope, though by no means redemption -- "The birds are all singing 'It's the end of the world.'" That song and the wistful closer "I'm Done with the World (& It's Done with Me)" hew closer to the atmosphere-heavy indie rock architecture of bands like Everything Everything and Alt-J, with the former cut invoking an apocalypse-themed rendering of Duran Duran's "Ordinary World." The rest of the LP spends its time leaping from Violator-era Depeche Mode synth pop ("In Degrees") to Motorik post-punk ("Syrups") to cosmopolitan indie pop ("Cafe D'Athens") with nary a pause in the action -- the largely ambient, 44-second "Surf, Pt.1" feels fairly superfluous. Reportedly, the band felt a bit at sea following the amicable departure of longtime bass player and founding member Walter Gervers, who left the fold shortly before tracking -- they continued to operate as a four-piece, sharing bass duties in the studio. Foals have always been deft wielders of unease, and the shambolic Everything Not Saved Will Be Lost feels certain in its uncertainty. Whether or not all of these stylistic shifts find some common ground with the release of volume two remains to be seen, but there's no denying the vitality that runs through this ten-song set, nor the inescapable feeling of doom. © James Christopher Monger /TiVo