Future of The Left return with their fifth album, another set of grinding, noisy, shouty rock music. From Wales. The Peace & Truce of Future of The Left finds Andy Falkous using his sardonic lyrics and throaty howl to lead his troops into 13 fairly hardy songs. CD and LP release on the Prescriptions label.
7/10 Robin Staff review, 05 April 2016
Ian accidentally converted Andy Falkous’ band Future of the Left into a music writer soundbyte by calling them “the Blur version of Mclusky”. I don’t want to be responsible for ruining any lives, so I won’t assess the truth of this quote (though, um, that bit in “The Little of Battleships”...); what I think it means is that his band continues to be an extremely fun, largely self-aware noise rock team that keeps its discordance fun and its lyrics pranking -- Falkous has a lot to say about the state of music industry bullshit on Twitter, but I really don’t wanna talk about righteous subtweets in a review of a loud album, so I’ll just say the lyrics mainly make me laugh: “Aristotle has gone to the cinema”. Same. True. Would RT.
‘Peace & Truce’ continues to remind me of the punchy noise ‘n’ pop rock bands that used to have fun making the genre sound a bit more communal: I’ve always felt like mclusky were kinda making fun of their genre hallmarks, or at least that’s what I hope, and Future of the Left seems even more meta in action. They have the love of gang vox that Dananananaykroyd once jumped on and Falkous is pulled towards particular phonetic intonations, squeaking out words over juxtaposed basslines of grump, “Miner’s Gruel” sounds like a comedy sketch, the nasally produced vocal curling over a staccato riff as the rhythm jumps hatefully about the storyline. This kinda pantomime punx will only further fuel the whole Andy Falkous’ Music Is An Acquired Taste mantra (as if that’s a thing, and as if all music isn’t an acquired taste), but it’s well calibrated as ever, and quintessentially Future of the Left. This Future of the Left record? So Future of the Left!
The narrow corners of Shellac-smacked (but far expanded-on) tracks like “The Limits of Battleships” and “Eating For None” remind me that it’s Falkous’ delivery I like best: I like it when he coalesces on a harmony with his bandmates or delivers another character-acted, talk-back vocal that changes its tone with every sentence. The music of has never been that invigorating to me, but it’s fun to see the parodies of noise rock aggression and the multitude of ways he can make a noise rock song sound that little bit extraordinary. A silly thing.
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