Collective Concerts, Indie88 & The Edge Present
11 Polson St.
Toronto, ON, M5A 1A4
Doors 7:00 PM
This event is 19 and over
On an unseasonably warm night in March, 2013, within the august, hallowed walls of the Royal Albert Hall in London, something extraordinary happened. Five musicians took to the stage, launched into a song called Inhaler, and blew the roof off. For the 5,000-plus people who were lucky enough to be present that evening, the experience was more like a mass epiphany at a revivalist meeting than a gig. Foals whipped up a frenzy and sent it hurtling towards the audience, who gave it a shake and sent it hurtling right back. Two hours later, we staggered, reeling, out into the night. This was more than music. This was alchemy.
But then, inevitably, came the fear. Could the band ever match this? My advice for the fretters is simple: put on track one – the title track and lead single – of Foals’s visceral new album, What Went Down. Put it on anywhere – on your headphones, in the car, in the great wide open, and put it on LOUD. “I buried my heart in the hole in the ground,” sings Yannis Philippakis, like a fire-and-brimstone preacher in a Deep South prayer house, over eerie, pitch-shifting organ.
“With the lights and the roses and the cowards downtown. They threw me a party, there was no one around. They tried to call my girl but she could not be found.” That’s when the beat kicks in, a giant Motorik beast of a thing that hurls the song forwards. A lowering, syncopating theme enters the picture, threatening to drag the song down into the depths. And, oh God, here’s the chorus. It doesn’t just arrive, it explodes. “When I see a man I see a lion,” Yannis screams. “When I see a man I see a LIAR.” Radiant, roiling, roistering, rabble-rousing: this is music that is at once beautiful and hellish, euphoric and demonic. What, and you were worried Foals couldn’t match what they’d created before? Match it? They’ve fucking left it for dust.
It cannot be the case that one type of music can be more resonant, more significant, than another. Music, from whatever genre, either connects or it doesn’t; not because it’s chart-pop, or alt-country, or deep house, or art-rock, but because it speaks to us, baffles us, ensnares us. Sometimes, though, a band will ride roughshod over that logic, will create something that takes music beyond the usual narrow considerations of chart placings and boy-meets-girl platitudes, and renders all around it irrelevant, trivial, disposable. All of the truly transformative and era-defining albums have grappled with questions that are a world away from the bland bleatings of homogenised pop. Permanence and impermanence, life and death, solitude, vulnerability, intimacy, passion, rage, humanity – weighty issues that make demands of the people creating that music, and of all those who listen to it, too.
What Went Down confronts these issues head-on. Recorded with James Ford (Arctic Monkeys, Florence + The Machine) in the same Provence village where, 127 years ago, the artist Van Gogh was hospitalised in a psychiatric ward after slicing off his ear, the album sees the band take their songwriting to a new level. Yet it was, says frontman Yannis Philippakis, the easiest to make. “We spent two months in the studio, and that’s quick for us. There’s a propensity in the band to over-think, and sometimes undo what had been great in the first place, out of boredom or restlessness – or a desire to make something better. But it rarely is. But I think we’d all have got bored of being in the band had we not had that restlessness. I mean, I can’t begin to imagine, or predict, what the next record will sound like, but thank god for that. There are so many bands where you just know what their next move will be, because it’ll be the same as their last one.”
No sooner had Foals rounded off their world tour for the Holy Fire album with an incendiary headlining set at last September’s Bestival, than they were back in the studio – and it’s that sense of urgency, Yannis says, that gives What Went Down its power. “By the time we got to Bestival, we were playing the best we ever have. I had this image of the band as this 10-legged beast, this ruthless, elegant machine, with everyone pulsing at exactly the same frequency. The five of us were at this level where the shows were still reckless and on fire, but it felt like we’d become this predatory animal, designed to annihilate the spaces we were in. The point is, if we’d had two months to deflate, to re-enter normal life, before going back into the studio, the new record would never have sounded like it does.”
Too often in the past, Yannis has been crudely characterised as a tormented, chain-smoking obsessive, as someone not liberated by music but driven half-mad by it – to the point where it’s tempting to feel that those doing such pigeonholing would rather musicians and songwriters were opinion-free automatons, trumpeting the light-entertainment party line. Do we seriously want that? Or do we want artists for whom creativity is like mortal combat, who bear the scars of those battles but don’t hesitate to re-enter the fray? Yannis is the first to admit that he’s a poor advertisement for the serenity that music is supposed to induce. But for him, that’s not the point. He’s not using music, using songwriting, to cauterise the wounds (wounds that most of us, if we’re honest, carry round with us, too). He’s using it to explore them, to attempt to understand them.
Writing the title track came about during a period , Yannis says, where he was “thinking a lot about masculinity, but also about being an animal, being violent and primal. When I sing that song I feel like I’m this fevered, skulking, brawling person. But again, there’s a vulnerability in there, too, and I think that’s got something to do with moving to London. I’d been in Oxford for so long, and I had to recontextualise myself, I’d marked the lampposts in Oxford, I knew my co-ordinates. In London, I thought, ‘I’m one of 10m people you know?’ It’s about trying to escape yourself, too; trying to tear everything away.”
The decision to work with James Ford was an easy one, Yannis says. “The chemistry was just immediately right. He doesn’t praise you, he’s very British in that respect. I remember, for the first few days in France, I’d be going, ‘Why’s he not being more encouraging?’ It took me a while to realise that that was a good thing. There were two clear aims this time: a really lean sound, nothing extraneous, nothing too fluffy, trying to get away from some of the more epic tendencies the band have. At the same time, we wanted to explore the more experimental side of the band, and push the extremes out further, in every direction – to dial everything up, to make the heavy stuff even more menacing.”
Albatross, a pivotal track on the new album, is certainly that. The lyrics are like daggers, self-lacerating shards of mockery and disgust – you can almost hear Yannis’s lip curl as he rages against himself on lines such as “You’ve got a hundred broken wishbones under your bed / You’ve got a hungry green-eyed monster that you keep fed”, as the clattering house beat and glacial piano send the song galloping towards oblivion. It’s shivers-up-the-spine stuff, music that delves into the darkest reaches of your soul and leaves you feeling winded. It’s also brave, fearless and shockingly candid. The antithesis of talent-show warbling. Music as passion, fire and confrontation.
By contrast, the album’s astonishingly beautiful closing track, A Knife in the Ocean, is like the calm before the storm, but also the stillness and silence after it has passed. A song that addresses the ephemeral, fleeting nature of human existence, and our endearing but deluded attempts to defy that irrevocable reality, it opens with Tibetan bells, and a plainsong-like melody that conjures up a supplicant at prayer. “When I come to walk the line,” Yannis sings, “the fire it comes, but I’ll be just fine.” Yannis likens the narrator to “a young man, saying ‘I’m going out, what I’m going to face will be dangerous, and I may not return.’ On one level it’s about a sort of personal apocalypse, a personal oblivion, confronting the conveyor-belt nature of life, and becoming more aware of human frailty, and how that interacts with being a fairly confident, bullish individual. But it’s also about looking round at a city like London and thinking, ‘How could this ever cease to exist? Something this imposing? This evidence of human endeavour?'”
Again, the question needs to be asked: do we want music that shies away from the complexity of life, from the baggage we all, every one of us, carry, from the fear we all feel, from the rapture and thunderstruck love that somehow coexist with that fear? Or do we, rather, want music that confronts that? Four albums in, Foals continue to walk into the storm. They can’t not, say Yannis. “I decided that whatever I wanted to say, I was really going to say it in the lyrics this time; and that, sonically, we’d have the same approach. There are far fewer veils on this record. It’s unfettered communication, it’s the clearest distillation of me, of all of us. Before, there’s always been that gap between the imagination, the romance and fantasy about what we wanted to create, and the actual reality, and that disparity has been difficult. But on this record, we’re the closest we’ve ever been to the vision in our heads. I feel much more at ease in myself, definitely; that things have aligned for me, creatively, where I feel far more confident, and much closer to the goal than I was before. One thing that we really take pride in, really take great enjoyment from, is that, through a series of beautiful accidents, we’ve got to the position where there’s no tethering to any preconceived idea of what we should do. So it feels like we can do anything.”
My notes on What Went Down, taken when I first heard the album, look like automatic writing, a scribbled blur that makes me feel breathless if I read it back. On every page, the same words are repeated, always in capitals: SONG! LIVE!!! I am impatient to the point of petulance to see the band play new songs such as Night Swimmers (“Calypso!” “Tom Tom Club” “SONG!”), London Thunder (“Hymn-like, elemental” “WHAT a melody!” “Amazing liftoff into middle 8” “LIVE!!”), Give It All (“Woodpecker staccato guitar” “Vast return of drums”) and Birch Tree (“Total bliss-out, borne aloft” “Summer soul, West Coast with the roof down” “Middle 8 massed vocals, handclaps”) live. To feel the brute force of the title track (“Fucking HELL. Sonic carnage”) slap me in the face. To watch one of the best bands in the bloody world whip up a frenzy and send it hurtling towards me. At which point, I’ll give it a shake, and send it hurtling right back. For What Went Down is more than music. What Went Down is alchemy.
Preoccupations’ songs have always worked through themes of creation, destruction, and futility, and they’ve always done it with singular post-punk grit. The textures are evocative and razor-sharp. The wire is always a live one. But while that darker side may have been well-explored, that’s not quite the same as it being fully, intensely lived. This time it was, and the result is ’New Material’, a collection that broadens and deepens Preoccupations to a true mastery of their sound. In it lies the difference between witnessing a car crash and crashing your own, between jumping into an ocean and starting to swallow the water. “It’s an ode to depression,’ singer Matt Flegel says plainly. “To depression and self-sabotage, and looking inward at yourself with extreme hatred.” Typically resilient, the months leading up to recording ‘New Material’ brought a new order of magnitude to feelings that had been creeping up on Flegel for some time. He’d written bits and pieces of lyrics through the course of it, small snippets he hadn’t assigned to any one thought or feeling but were emblematic of a deeper issue, something germinating that was dense and numb and fully unshakeable. As the band began writing music, that process gave shape to the sheer tonnage of what he’d been carrying. With virtually nothing written or demoed before the band sat down together, the process was more collaborative than before. It was almost architectural, building some things up, tearing others down to the beams, sitting down and writing songs not knowing what they were about. But for Flegel, it led to a reckoning.“Finishing ‘Espionage’ was when I realized,” says Flegel. “I looked at the rest of the lyrics and realized the magnitude of what was wrong.”‘New Material’ builds a world for that feeling, playing through its layers and complexities while hiding almost nothing. That inscrutable side is part of the magic, here, and a necessary counterweight to the straight-jab clarity of Flegel’s lyrics. You can deep-dive the lyrics or zone into a riff; you can face it or you can get lost in it. “My ultimate goal would be to make a record where nobody knows what instrument is playing ever,”says multi-instrumentalist Scott Munro, “and I think we’ve come closer than ever, here. It shouldn’t sound robotic — it should sound human, like people playing instruments. It’s just maybe no one knows what they are.” Opener “Espionage” lives up to Munro’s goals, kicking off with a clattering, rhythmic echo that gives way to sprinting percussion and a melody in the orbit of Manchester’s classics. “Manipulation” explores the futility of going through the motions, balancing a droney, minimal march with a thunder roll that brings it to the brink, and to the doomed romantic declaration, “please don’t remember me like I’ll always remember you.” “Disarray” bursts up like a blackened confetti cannon, the song’s undeniably bright melody dancing over a refrain of “disarray, disarray, disarray” and literally nothing else. “A lot of this is about futility,” he says, “trying to find something where there’s nothing to be found.” That hunt turns into a search-and-destroy mission on “Decompose”, a tense, speedy, “blow yourself up and start again” type of song, the very picture of creation and destruction, as Flegel writes “for better or worse, we are cursed in the ways that we tend to be.” And while calling an album ’New Material’ might seem like a smartass move, the truth is it’s as matter-of-fact a title as Espionage, Disarray, or anything else on the record. Why fight that?If the through-line unifying Preoccupations’ work is a furious, almost punishing cyclical quality, ‘New Material’ does offer some relief. “This is somehow the most uptempo thing we’ve ever done,” observes Flegel. That propulsive, itchy quality rescues ‘New Material’ from the proverbial bottom of the pit. To write these songs is to force oneself to reignite, to play them is to
stand up and reengage. Closer “Compliance” may not seem revelatory on first listen, but it is deeply elemental, a crucial finale and the band’s first standalone instrumental. Original versions were built to death, reexamined and re-destroyed until they landed on just two chords — something simple, fundamental — and resolved to make meaning out of that, to show instead of tell. Flegel acknowledges it is more affecting to him than any other song on the record. It’s not redemption, more like a forced reprieve.
Framed from within the relentless heatwave of Atlanta, Georgia, Omni cuts through the oppressive humidity of the gilded southern capital with a cool and breezy combo of lo-fi nonchalance. In paying homage to post-punk forebears like Pylon, Wire and Devo, Omni exploits a succinct and focused sound in their 2016 debut. Strung taut with wiry guitar and incisive rhythms, their approach is not without plenty of sneaky, danceable melodies to round off the hard angles. Indeed, 'Deluxe' represents a mission statement to cruise a steady though lavish wave of disenchantment like it was 1979.
'Multi-Task’ is an improvement to that surefire philosophy. Where guitarist Frankie Broyles once kept his noodling perfectly strict and razor-sharp, he now fans and stretches out, allowing his silvery tone to breathe in a way that summons the art and funk of Roxy Music, or occasionally even the cheekiness of Sparks. Vocalist and bassist Philip Frobos continues to ebb and flow with his crisp and oft-detouring beats. Philip's stony voice retains a detached stoicism with hints of spirit sneaking in here and there. On the road for a solid year and left to finish the record in between tours, Omni ratchets the fidelity higher as the punk gets more 'proto' and less ‘post'—all while the decade melts away - ex post facto, into the late 60s and early 70s. Welcome in the eccentricities, guys.
With 'Multi-task', Omni capitalizes on the indulgences of ‘Deluxe’ melodically, rythmically and in their aesthetic indifference. In doing so, they never sound ostentatious during any facet of their evolution. It’s with that expert handling of subtlety that the power trio—recently bolstered by the addition of ex-Warehouse drummer Doug Bleichner—has managed so much of its charm in its brief history. Luxuriate in two-minute track after three-minute track of covert hooks that lock into subconsciouses and keep the record spinning, front to back to front again.
$41.25 - $52.25
Advance tickets also available at Rotate This & Soundscapes
Every pair of tickets purchased online for Foals includes your choice of a CD or digital copy of the new album, Everything Not Saved Will Be Lost - Part 1, released on 3/8/19. You’ll receive instructions via email on how to redeem your album after ticket purchase.