Help keep arts journalism alive.

We’re rebuilding theartsdesk to secure it as a bastion of real culture writing in the face of algorithmic recommendations and AI slop. Your participation is absolutely vital to this - subscribe today and be part of this movement.

SUBSCRIBE TODAY 

CD: Foals - Everything Not Saved Will Be Lost Part 1

Smart Power Pop strikes again

share this article

Foals: an album made for partying and dancing

Foals have delivered a consistently top-notch series of albums (this is their fifth since Antidotes in 2008): guitar-led, high-energy, musically literate without being effete or pompous. Power pop elevated beyond the run-of-the-mill by a great deal of intelligence and taste.

The latest album is the first of a pair (a kind of delayed-release double album) and once again, the band, who are no doubt at their best as a very exciting live act, have made an album rich in material that will stand the test of time, and yet feels very fresh. That frontman Yannis Philippakis should hail from the hill village Olympos at the heart of the remote island of Karpathos, halfway between Rhodes and Crete, and should have been brought up on Greek traditional music, is hardly evident in the vibrant rock that Foals create, but it explains perhaps how they've always managed to feel outside the mould, even though they are a classic guitar-driven band.

Vocals are only part of a rich texture in which guitars lead with soaring melodic lines while also providing delicate yet insistent rhythmic riffs. These guys have grown up with soukous from Central Africa as well as Steve Reich’s minimalism and trance-inducing repetition. Just as Talking Heads did in the 1970s – a band with which Foals are sometimes compared – the deep roots in Africa, with a music that speaks to heart and body as much as the brain, are obvious.

This is an exhilarating album, made for dancing and partying. It is also, as demonstrated on tracks such as “Syrups” and “On The Luna”, sophisticated in terms of layered production – the tightly orchestrated guitars underpinned by glorious sheets of keyboard and synthesizer and well-placed backing vocals.  There are surprises too, such as the cooling and mysterious marimba sounds in “Café d’Athens”, and the chilling-out phase of this rave of an album, with the last two tracks “Sunday” and “I'm Done With The World (& It’s Done With Me)”.The latter is a bucolic bit of romance, in which the febrile guitars that drive the rest of the album are left behind. There is a moment of rest, soothing and delightful.

 

 

This is an exhilarating album, made for dancing and partying

rating

4

explore topics

share this article

more new music

The UK DJ / producer / remixer on the challenges and joys of getting the keys to a vast vault
Deep English tunes and dances are brought back to life on this beautiful debut set from the new fiddle duo
Trippy vibes, warm melodies and techno-flavoured grooves
The celebrated country singer’s first album in 10 years hits home hard
The veteran indie rocker's fifth solo outing jangles but doesn't fly
The fast-rising London band showed both brilliance and an over-abundance of ideas
An incredibly finessed and sometimes stunning album doesn't give away its electronic secrets easily
Iconic heavy rock guitarist serves up raucous riffs on inconsistent fifth solo album
Following the loss of the duo's production wizard Dave Ball, one final outing