The Futureheads are vocal about their approach: 'We're having loads of fun playing loud music'By Chris Nixon
For The San Diego Union-Tribune
March 10, 2005
Little kids know it, but sometimes adults forget it: Singing is fun.
Just ask Jaff, the bassist for the Brit-rock quartet the Futureheads: "You have to really concentrate and really put some effort into the singing, and singing is great fun, you know?" said Jaff during a recent concert stop in Boston, as his band tours the States in support of its self-titled debut album. "We all sing really loud. The endorphins that it produces in your body is pretty amazing. We could have the worst audience in the world, but then they start to realize that we're having loads of fun playing loud music. It can really swing an audience for us."
And the Futureheads has been swinging audiences since its inception in November 2000. After toiling for three years in the northern English hometown of Sunderland, the Futureheads burst into public consciousness this past year with its brand of frenetic New Wave and sing-along vocal harmonies. Packed with edgy energy, the Futureheads' first full-length album features catchy vocals from all four members.
"The idea behind the singing was we thought, 'Well, we're all going to stand up there on stage, we should all play an equal role,'" said Jaff. "Someone obviously needs to sing lead vocals on every track, but everyone should have a microphone on stage. Even if you're just picking up their breathing or the screams and yelps from Dave the drummer.
"It makes all the difference," Jaff said. "There's more air moving about. People aren't just focused on Barry in the middle singing the lyrics. There's me and Ross on either side of the stage singing stereo harmonies. It's much like watching a tennis match, the crowd's heads are moving side to side following the ball."
New Wave music, king in the 1980s, has seen a revival of sorts in the past few years. Bands such as Metric, Ima Robot and the Futureheads breathe new life into the once-dead genre, reviving the spirits of the Knack and Missing Persons. But instead of synthesizer-driven hard pop, the new generation relies heavily on the traditional guitar-bass-drums setup. In the Futureheads' case, the band replaces cheesy synth parts with their voices. Among the vocal volleying and layered harmonies, the Futureheads' jagged guitars joust with crisp rhythm performances – all contained in an upbeat, accessible pop package.
One of the new disc's standout tracks is "Hounds of Love," the title track from Kate Bush's largely forgotten gem originally released in 1985. The song opens with Jaff and guitarist Ross Millard's sing-song chanting, with vocalist Barry Hyde crooning over the top while little brother Dave Hyde lays down an airtight beat.
"My dad was a massive Kate Bush fan. Whether it was because of her music or because he fancied her, I'm not really sure," said Jaff. "I think it's a pretty good reason if you ask me; she's a fox."
When the Futureheads roll into town for a show at all-ages venue the Epicentre, expect to do a little singing yourself: "We do this thing on 'Hounds of Love' now where we split the audience in half: one side sings my half and one half sings Ross' half. So you have the audience create this mass participational noise. It's good fun."
Backed by a major-label deal with Warner, these four kids in their early 20s have come a long way from Sunderland. Get to know them. They plan to be around for a bit, and deservedly so.
"We initially got label interest about two years ago," said Jaff. "Eventually, we got this deal with Warner, and it's really allowed us to spread our music worldwide. It just completely changed things for us. Because, in the beginning, you're alone, you're just a small band from Sunderland at the end of the day. And now we've released this record all over the world and we're just having a ball doing it."
Chris Nixon is a San Diego music writer.
Focused aggression, pop melodies and other influences
DISCOGRAPHY
"The Futureheads" – 2004, Sire/Warner
LINEUP
Ross Millard – guitar, vocals
Barry Hyde – vocals, guitar
Jaff – bassist, vocals
Dave Hyde – drums
SPIN CYCLE
The Futureheads draws from many influences, but bassist Jaff lists five albums the band listened to during the recording of their debut self-titled record:
CAPTAIN BEEFHEART – "The Spotlight Kid/Clear Spot"
Warner Bros., 1972
File under: Off-kilter avant blues-rock powered by meandering marimbas, gritty guitar riffs and Beefheart's gravelly sandpaper vocals.
Sounds like: Frank Zappa meets Tom Waits
Jaff says: "I don't know if you can get it over here, but the double Captain Beefheart album is great. In the UK, you get two albums together. The vocals on that record and his approach to playing real music with real instruments is amazing. A lot of people missed the Captain Beefheart thing. The instrumentation and the arrangements on that album are mind-blowing. The grooves that the drummer and bass player lay down, me and Davey really try to emulate them."
SHELLAC – "1,000 Hurts"
Touch & Go Records, 2000
File under: Punk-tinged growling guitars and iron drums interlock with piston-like efficiency, led by soundsmith and producer extraordinaire Steve Albini (the Pixies, Nirvana, P.J. Harvey, the Breeders).
Sounds like: early "Bleach"-era Nirvana meets Sonic Youth
Jaff says: "It was a big influence: Albini's approach and his command of the audience. Barry and Ross saw them live and after that played them every day. They came back from the show and said, 'We need to be more like this.' On that record (singing): 'Kill 'em, kill 'em, kill 'em already, kill 'em." We try to use that kind of focused aggression along with pop melodies."
XTC – "Drums & Wires"
Virgin Records, 1979
File under: Exquisite harmonies and intricate pop arrangements cover lead singer Andy Partridge's lyrical neuroses like a warm comforting blanket.
Sounds like: The angry young man spiel of Joe Jackson/Elvis Costello smoothed out by – dare we say – Beatles-esque pop.
Jaff says: "I think that XTC has been an influence for us from the start. As far as the group goes, it's probably not our favorite XTC album. But I was listening to this one a lot during the recording of the album. I listened to Colin Moulding's bass lines a lot. All the jaggedy guitars and the kooky pop songs were an influence.
LED ZEPPELIN – "Houses of the Holy"
Atlantic Records, 1973
File under: The definition of bombastic rock, a glimpse of one of rock's greatest bands at the height of their creative powers.
Sounds like: No one else before or since (worth mentioning). The perfect combination of Led Zep's sweet acoustic side (see "Led Zeppelin III") and their trademark thunderous rock (see "Led Zeppelin II").
Jaff says: "I've got to mention 'Houses of the Holy' for the diversity of sounds: the acoustic sounds, the guitar sounds. Pretty much any of the first Led Zeppelin albums are untouchable, as far as I'm concerned. So I've got to mention Zeppelin. Jon Bonham is an absolutely immense drummer."
SWEEP THE LEG JOHNNY "Going Down Swinging"
Southern Records, 2002
File under: Punk kids who listen to a lot of 1970s art rock and early SST Records bands (like the Tar Babies), with angsty vocals, odd time signatures and avant-garde saxophone licks.
Sounds like: Fugazi on amphetamines
Jaff says: "Barry never had it off the entire time we were recording the album. They're like Faraquet. Have you heard Faraquet's "The View From This Tower?" The guitar sounds and the groove they get going are truly amazing. They have a lead saxophone player, need I say more?"
– CHRIS NIXON
