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on 20 November 2013
I bought this as I love their cover of "Hounds of Love" and I like "The beginning of the twist". I've played it two or three times. Good, spiky pop music. Not impressed me as much as those two songs yet...
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on 5 August 2016
Bought for their famous cover. The other tracks are not too bad to be honest.
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on 2 March 2016
Loved this CD what a band
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on 22 July 2004
This album is absolutely stunning, almost as good as seeing one of this band's stonking live shows. The Futureheads have their basic roots in guitar-based indie/alternative music, with a strong punk feel and attitude. But that's just the starting point. They have a wide variety of musical influences which they wrap up in a tight bundle of stomping tunes, crashing instruments and vocal harmonies. All four band members sing, but not necessarily the same things at the same time. They punctuate songs with delirious vocals, whip-smart guitar, bass and drums and dizzying changes in pace, intensity or even tune whenever they feel like it. But they always carry you along with them wherever they go. They somehow combine the best punky singalongability (is that a word?) with real depth and experiments in sound.
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.
14 people found this helpful
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on 6 November 2017
Excellent. Arrived early. Really good conidtion. Thks
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on 1 August 2006
I bought the original version of this album back in 2004. Listened to it twice and thought "Ummm - difficult". Three months later I picked it up and played it again.

Outstanding! I felt that I knew every track. They all fell into place and it became one of my favourite albums of 2005.

I urge all those people who disliked it so much at first to give it another try. Persevere! The best albums can sometimes be the ones the take the longest to grow.
One person found this helpful
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TOP 100 REVIEWERon 20 June 2015
The Futureheads were just one of countless young indie-rock bands who exploded onto the scene in the early 2000s. Loaded with energy and attitude, and with guitar-driven songs to die for, these men who Sunderland's debut album still remains one of my all-time favourites. Unfortunately, the only song of theirs which appears to surface on indie rock compilations these days is their excellent cover of Kate Bush's 'House of Love', their biggest hit and a solid rendition, but they are responsible for so much more good stuff as well. If you came to this page after hearing 'Hounds of Love', then please buy the entire album. This isn't anything new or revolutionary, just simple, fun, bouncy 'feel-good' music', with a strong punk influence.

Other toe-tapping highlights on 'The Futureheads' include the twice top 30 hit 'Decent Days And Nights', the quirky 'Robot', and the chilling acapella 'Danger of the Water', with all four band members on harmonies, and lead vocalist Barry Hyde sounding uncanninly like the great Damon Albarn. The radio mixes of singles 'Hounds of Love' and 'Decent Days And Night' appear at the end of the CD.

Personally, I would strongly advise that you go 'all the way' so to speak and check out the deluxe edition, where you'll get the album plus a bonus DVD with the music videos for the singles, live performances in Newcastle, and interviews with the band. You can purchase it here: The Futureheads [CD + DVD].
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TOP 500 REVIEWERon 7 March 2013
On its release, this 2004 debut album from The Futureheads came across as something of a pleasant surprise to this listener. With its 15 sub-3 minute (OK, two run just over the 3 minute mark) songs, a level of rhythmic vibrancy and melody (hook) to be relished, plus the novelty of acapella singing thrown in to boot, it almost took me back to that most magical of musical eras, punk. Indeed, listening again to the album, there are a whole host of influences/similarities I can detect - the chopping guitar sound reminiscent of Gang Of Four's Andy Gill, the beginning of Robot harking back to The Jam's A Bomb In Wardour Street, and Stupid And Shallow (and, indeed, the sound of the album more generally) calling to mind Hope Is Important-era Idlewild. Oh, and if I remember correctly, live, guitarist Barry Hyde's right leg had a Strummer-esque habit of pumping along to the beat.

Having said this, such influences are certainly nothing to be ashamed of, and this is an impressive collection of original songs, plus the addition of their superb cover of Kate Bush's Hounds Of Love. Subject-wise, the songs cover a plethora of concerns with the modern world, such as social conformity (Robots, 'I have no mind'), the superficiality of modern day relationships (Meantime), the perils and demands of ageing (Trying Not To Think), a cynical take on job progression (First Day, 'this is the job that people die for'), the potential benefits of city life (The City Is Here For You To Use, with its Gang Of Four-sounding riff) and failed relationships (Danger Of The Water, with its superb and subtle acapella). Even better, however, are the superb guitar hooks that form the backbone of Decent Days And Nights, with its tale of increasing confusion with modern life, Carnival Kids, a warning against the perils of youths being led astray and He Knows, with its take on child abduction. Finally, a word or two for Stupid And Shallow, with its hilarious (obscenities with the background harmonies) take on the (perhaps) less intelligent members of society, and Man Ray, an inventive tale (with particularly vibrant riff) of jealous love, cast in the form of a metaphor of Man Ray's black and white photography.

Not an absolute classic, but certainly an energetic and innovative-sounding debut album (which the band followed up impressively with News And Tributes in 2006).
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HALL OF FAMETOP 500 REVIEWERon 22 January 2006
In the music scene today, there may be no band that sounds like it's having more fun than the Futureheads. Their bouncy dancepunk tunes are catchy, gritty-edged, danceable -- and above all, the guys sound like they're having a absolutely glorious 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.
6 people found this helpful
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on 16 July 2004
If you cast your mind back to the days of Britpop - perhaps the last time there were this many "decent" British bands being touted at the same time - there was a definite hierarchy within the bands of the time.
The same is true today: if Franz Ferdinand are the Blur of the current generation (say Premiership status), then perhaps Dogs Die in Hot Cars are the Supergrass (first division?), unfortunately that leaves the Futureheads as the Menswear - one or two decent tracks and then lots of filler on the album!
Buyer beware... just an average 80s rehash...
One person found this helpful
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