The Futureheads

So, reasons why this album is the best thing I've heard in a long, long time...

1. Post-moderism rocks! I love a band who wear their influences on their sleeves rather than poncing around by saying "oh yeah, we ARE unique". In a year which has seen / will see albums released by others of a similar ilk (Dogs Die In Hot Cars, The Killers), The Futureheads' LP is a fabulous statement for recycling dated trash and making it more relevant than it ever was. It's a storage solution IKEA would envy...

2. Music is meant to be fun. And loud. This is. Live with it. Every track is a zinger (even "Danger In The Water", which in sounding like at an attempt of Garage Gospel a la The Housemartins is so out of place it's like Cliff Richard fronting Napalm Death). "Decent Days And Nights" is THE single of the year - a rip-snorting post-punkathon built around a chugga-chugga riff so close to an adrenalised version of "My Sherona" it makes your smile ear to ear. And "Robot" sounds nothing like The Jam - I should know, Woking's about 20 minutes from my house.

3. It's the perfect album to listen to on the way to work. It has bounce and vibrancy, but more importantly a mischeviousness and innocent prankster inclination about it. To fully understand this, stand at Redhill Station on a Monday morning, stare at people and smile whilst listening. The only other album that gives me the same sensation is Wire's Pink Flag, but whereas that's best for urban taunting (try listening to it and reciting the lyrics to "Mr Suit" to the men in pinstripes), The Futureheads' LP is much better for sparsely populated suburban platform chaos. And if there's a better song about starting a new job than "First Day", I quit.

4. You have to do something when you listen to this record - you can't just SIT. Play air guitar, hum, whistle, dance, drive fast. The best art (and this IS art) demands you interact.

I could go on and on... Bear in mind I've only got the promo - missing "Hounds Of Love" (a cover of the Kate Bush track?). Rest assured, however, this won't stop me ordering the full version. And why? I haven't been this excited about a band for a very long time.

I'm moving to Sunderland - there must be something in the water...

There is not a weak track on this album. There is also nothing longer than about three minutes on the album either. In true punk style they strip away the unnecessary guitar breaks, chorus repeats and twiddly bits other bands use as padding, leaving two to three minutes of perfectly formed song. But there is nothing basic here. They fill every second of their songs with meaty hooks, melodies of all kinds as well as superb vocals, from straight singing to whatever shouts and noises they can pack in to a spare second. Two or even three tunes, some of which don't sound like they should work in a song, often vie for space in one track, all under the complete control of this talented foursome. Some songs have so much going on that you can't believe only two and a half minutes have elapsed by the time they finish, but they are all put seamlessly together.

It's hard to believe this is their debut album because it sounds like a best of, from infectious stompalong anthems like Decent Days and Nights (released July 26th as a single), brooding powerhouse tracks like Manray, the melodic but edgy Meantime and the fragile beauty of Danger of the Water. That's not to mention their stunning punk reimagining of Kate Bush's classic Hounds of Love with four voices acting almost like an orchestra over scuzzy guitars. There's at least eight songs on here that most bands would have as their flagship single to put them on the map, and the other tracks would still stand out on most people's records, they just have the courage to explore other, often murkier waters.

This album has got everything - immediate tunes, songs that grow on you, varied moods and pace, and it definitely rewards repeated listening. You can sing along and just enjoy 15 killer tracks or you can really listen, and you will be repaid with thoughtful lyrics and themes and all kinds of hidden depths in the music. The Futureheads deserve to be the biggest band in the world, but whatever else, they are certainly the most exciting act to arrive in a very long time.

A pal of mine went to a Futureheads concert and confided that the crowd didn't move at all. That's hard to imagine -- after a mild buildup of vocal harmonies and guitar riffs, the catchiness kicks in with the rapid-fire percussion. "And I won't say what if it's true/Le garage (le garage-RAGE!)" the guys shout in the opener.

Things don't die down after that, from the Devo-esque "Robot" to the heavy-guitar, dadaesque "Man Ray." Not that everything is all the same -- the Futureheads are one of the few rock bands who don't rely on the same riffs and beats to achieve catchiness. They manage different kinds of catchiness -- herky-jerky, relentless, fragmented and poppy.

The only exception is "Danger of the Water," a song that is almost a capella, with Barry Hynde solemnly singing, as his bandmates chant "do do, do do" in the background. Okay, there's a tiny keyboard melody, but it's almost indiscernable -- and it's surprisingly entrancing when the song builds up to a tense climax ("Danger... water/Danger... water!"), followed by a yell from Hynde. Only imagine what happens next.

Despite comparisons to Franz Ferdinand, the Futureheads smack more of Devo-and-XTX-meets-the-Ramones. The jangly guitars, solid drums and bass are all wonderfully assured, but the vocal harmonies are the really good stuff. Hynde does most of the singing, but the other guys weave in and out without a single sonic burp.

Sure, it's not perfect. But the energy and fun of the Futureheads' debut can't be denied. A solid, fun, catchy dancepunk album.