There’s something strangely enduring and self-renewing about Franz Ferdinand. Despite the band's extensive catalogue, which ranges from sharp post-punk sounds to disco enjoyment, pristine pop to fuzzy abstraction, there is an essence, a distinctive flavor. Listening to their new album ‘The Human Fear’ evokes John Peel’s observation about The Fall: always different, yet always the same.
A few weeks prior to Christmas, lead singer Alex Kapranos is animated. Beside him sits bassist and collaborator Bob Hardy, and the discussion about fear is stirring him up. “I didn’t aim to write an album centered on fear,” he asserts. “I lack the kind of mind that can create a concept album. And honestly, it’s a bit misleading! When you see the title, you might think it’s an album meant to instill fear, like a Black Sabbath record or the like!”
“But it’s a more uplifting message because it’s about triumphing over fear. I think that experience is incredibly thrilling, exciting, and life-affirming. It's why we enjoy rollercoasters. It's why we watch horror films; you confront fear and conquer it… and then you feel alive!”
If there’s darkness in the album, it’s counterbalanced by the joyous possibilities that music-making can release. “No matter how somber the themes in a record, it needs to bring some pleasure and excitement while creating,” Alex highlights. “There are always moments I cherish. I love writing songs. I love gathering with my friends to play. That’s the reason I’m in a band – that’s where the magic happens.”
Confronting fear is something that Franz Ferdinand has grown skilled at in recent years. Since the release of ‘Always Ascending’ in 2018, the band has solidified its current lineup, released a Best Of collection – 2022’s nostalgic ‘Hits To The Head’ – and navigated a global pandemic. Initially hesitant about the idea of a traditional Best Of album – possibly akin to ABBA Gold – Alex eventually came around after the subsequent tour helped solidify Dino Bardot, Julian Corrie, and Audrey Tait as part of the band’s lineup.
“I recall being somewhat frustrated at the time,” he confesses, “but I’m really, really glad we did it. You do the retrospective, and then you progress. But particularly during the touring, it sharpened our identity: it became clear what makes the band good, who we are. Accepting and embracing that identity becomes quite liberating and allows for greater exploration.”
By ‘new places,’ the band specifically refers to… Scotland. More precisely, AYR Studios, the location that birthed ‘The Human Fear’ – designed to be a cozy gathering space for friends, rather than a sterile lab for sound engineers. Making music is, after all, meant to be enjoyable.
“Most studios cater to engineers,” Kapranos observes, “focusing on the engineer’s practical needs, while the social aspects of a band are almost disregarded. But the studio we use is the opposite. To be honest, it’s a real hassle for engineers. But it’s a fantastic environment to hang out and create music because that’s what truly matters.”
Bob adds with understated humor, “Perhaps the biggest challenge of being in a band is the human logistics of getting five people in the same place at the same time. And in the correct mindset. It takes 20 years to master that!”
Every time Franz Ferdinand creates a new album, they come with fresh ideas and influences – but every contribution is then twisted, torn apart, and reconstructed before being integrated into their art-pop recipe. “The best influences emerge through osmosis,” the singer explains. “You absorb your influences and they seep out subconsciously. When you attempt to imitate something else… it’s dreadful. A significant part of the creative process involves editing out elements and altering them. I don’t want to sound like another record. I want to sound like Franz Ferdinand.”
With Franz, little is left to chance – the songs are meticulously planned before entering the studio. Indeed, if there is one rule for ‘The Human Fear,’ it’s this: no jamming. We repeat: no jamming. “Nobody enjoys jamming!” Bob laughs. “Except for the soloist at that one moment. It turns into writing by committee, and I believe any creative endeavor needs a strong vision to strive toward.”
Consequently, ‘The Human Fear’ stands as a concise representation of Franz-pop at its best – the sharp edges are preserved, and the wit presented at a fiery intensity. Take ‘Bar Lonely’ – crafted by Alex and Bob side by side – or the bold notes that echo in ‘Audacious.’ “That song acknowledges the despair when your life feels like it’s crumbling,” Alex explains. “But upon facing it, you think: screw it, I’m going to respond by being audacious, bold, and
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There is something strangely lasting and self-renewing about Franz Ferdinand. Despite the wide-ranging nature of the band's discography – shifting from sharp, post-punk