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‘The Human Fear’ Review: The Comeback of Franz Ferdinand

This is the band’s first release since 2018, does it revitalize their careers?

ISTANBUL, TURKIYE - SEPTEMBER 24, 2022: Franz Ferdinand Concert in Cheerz Festival
ISTANBUL, TURKIYE - SEPTEMBER 24, 2022: Franz Ferdinand Concert in Cheerz Festival. (Shutterstock)

The Glasgow band have released their 6th studio album, this being the first release since 2018. Known for their classic Britpop sounds and exciting indie rhythms, The Human Fear introduces an interesting dance-inducing punk mix, creating a sound that is unapologetically Franz Ferdinand.

The quintet aren’t forced into following the trending sounds or the impending rush of constantly releasing new tracks. Instead, they move at their own pace and we are pleasantly rewarded by their approach. The album consists of tracks incorporating repetitive lyrics and riffs that simply catch on to the listener, politely asking for more.

Franz Ferdinand now playing as a legacy act as they hit their 20th anniversary last year, we expect to devour anything that they release once the nostalgia settles in. Their 2004 self-titled album include the tracks “Take Me Out” and “The Dark of the Matinee” are hits that can now describe the very essence of early 2000s classics. For now, their comeback is among several others, and we find that it’s one that’s perfectly amicable.

The Pick-Up-the-Tempo Beginning

“Alright, here we go with riff one” are the first words spoken on the starting track, ‘Audacious’. The song is a strong starter to the band’s comeback, involving the same interesting vocal melodies that lured fans in initially to the start of their career. Front man Alex Kapranos bellows rather optimistic lyrics to his audience, projecting “But don’t stop feeling audacious/There’s no one to save us/So, just carry on”. This entirely encapsulates the motive of this album, capturing the human essence through our fears.

Although the track ends rather abruptly, we swiftly move onto the next song ‘Everydaydreamer’, which can be a quick change in pace. It can be easy to overlook this track as it follows a slower rhythm and softer pop-like vocals. However, when in need of some reassurance, Kapranos will have you covered.

‘The Doctor’ is immediately a hit that can be imagined as a crowd’s dream. The track is the most repetitive yet in the album, accompanied by fast paced synths and enchanting guitar. This is most definitely one that is unavoidable to move to. The band carry their character driven songs here also, where Kapranos embodies a patient that refuses to go home and simply chants “Doctor” over and over again. It’s fun and it’s easy to follow for the average listener.

The In between

And on comes the middle section. To the listener’s delight we are awarded with the same charm that Franz Ferdinand always seem to deliver. First we have ‘Hooked’, a track that immediately hooks (fitting, I know) the listener with it’s electric clinks of the synth and upbeat tempo. This almost robotic sounding track is a highly addictive addition to the album, yet it lies somewhere between a thrilling dance hit and a simple attempt of one.

‘Build It Up’ is a refreshing change in pace. The track starts off with a simple guitar and slow, melodic vocals and then transitions itself to a toe-tapping chorus, Kapranos instructing “you gotta open up, you gotta share/Build it up if nothing’s there”. This track serves as a reminder that the Glasgow band know how to construct a classic indie song, reminiscent of their roots.

Next on the list is ‘Night Or Day’, a lively piano track with a dramatic subplot. Here Franz Ferdinand declare to the listener that “life is never going to be easy” and that you should “live it up”. The band keeps the loose theme of the human fear relevant throughout this track, and incorporates fast-moving synths, a common occurrence within this record.

‘Tell Me I Should Stay’ and ‘Cats’ both seem reign in that indie-pop sound that Franz Ferdinand were so prominent for in the 2000s. However, with the mix of the robotic punches of the synth and the core character drive of other tracks, these both seem to merge into the one same-sounding song. The tracks don’t devalue the album’s overall pursuit of comeback, but rather act as mere filler songs to flesh out this release.

The Eclectic Ending

The last three tracks of the record, here we go. ‘Black Eyelashes’ is a clear standout as it acts as a homage to Kapranos’ Greek heritage. Heavy on the percussion as it leads an almost march-driven beginning, it is easy for the listener to imagine a dance that would work alongside this. For ‘Bar Lonely’, the “bah-bah-bahs” and cheerful melody keep this tune light, and offers itself as an easy-listen yet not one you would immediately search for when referring back to the track list.

Lastly, we have ‘The Birds’. This electric punk-like, spectacular song is truly a highlight of this record. It induces real emotional response and summons the band’s nostalgic playfulness, a track that ends the album well.

Final Thoughts

Front man Alex Kapranos pointing to the crowd whilst performing on stage.
Front man Alex Kapranos. Credit: Ben Houdijk/Shutterstock

Overall, this album is packed with punchy riffs and thoughtful lyrics, all tied to the concept of experience of the human fear. The listener is pushed and pulled from the EDM-like synth beats to much more early 2000s style indie, ever-merging the new and the old of the band.

As discussed, some of these tracks fall flat simply because of their lack in originality, and become unmemorable when up against the fast-paced tracks. ‘The Human Fear’ certainly does not jeopardize Franz Ferdinand’s career, however, it doesn’t quite do enough that will revitalize them. It’s fun, it’s flashy, and it is Franz to its’ core; an album that won’t do any harm to listen to.

Written By

Hello! I'm Jenna Millar, a student journalist from West Lothian, Scotland. I'm currently in my third year studying English, Creative Writing and Journalism at the University of Strathclyde.

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