Franz Ferdinand
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Franz Ferdinand

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Released: Jan 1, 2009
Label: DOMINO

General Info

  • Genre: Indie / Pop

    Location Glasgow, Scotland, UK

    Profile Views: 8353527

    Last Login: 1/30/2012

    Member Since 2/2/2005

    Website http://www.franzferdinand.co.uk

    Record Label Domino

    Type of Label Indie

  • Bio

    .... .. .. .. .. .. .. .. .. ........ .. .. .. .. .. ........ ........................ .. .. .. .. .. .... .. .. .. .. ...... .. .. .. .. ...... .. .. .. .... .. .. ...... .. .. ...... .. .. ...... .. .. ...... .. .. ...... .. .. ...... .. .... .. .. .. .... .. .. .. .... .. .. ...... .. .. ...... .. .. ...... .. .. ...... .. .. ...... .. .... .. .. .. .... .. .. .. .... .. .. .. .... .. .. .. .... .. .... .. .... .. .... .. .... .. .... .. .... .. .... .. .... .. .... .. .... .. .... .. .... .. .... .. .. .. .. .. .. .. .. .. ..Band Members:.. ..Paul......Thomson.. Alex....Kapranos.. Nick...McCarthy.. Bob..Hardy.... .. .. ..Band Website:.. ..http://www.franzferdinand.co.uk.. .. .. ..Record Label.. ..Domino.. .. .. ..Type of Label:.. ..Indie.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. The marquee of a theatre before a show..... It's music of the night: to fling yourself around your room to as you psyche yourself for an evening of hedonism, for the dance-floor, flirtation, for your desolate heart-stop, for losing it and loving losing it, for the chemical surge in your bloodstream. It's for that lonely hour gently rocking yourself, waiting for dawn and it all to be even again..... By the end of 2006 we were exhausted - physically, emotionally and creatively. We'd been in the studio or on the road for three years without a break and we needed one. Alex went to Vancouver with the Cribs, Paul raised a family, Bob made a film and Nick disappeared in South America. We met up again in Glasgow a few months later, happy to be in each other's company and excited about creating something new..... Nick found a building for our HQ. He has a knack for it. It was a crumbling Victorian town hall, recently vacated by the drug rehabilitation unit that was the last tenant. The flock wallpaper was peeling a little and the psychedelic municipal carpet was browned with fifty years of council nicotine, but the vibe was great and the monthly rent was half the daily rate of a London studio. There was a noise complaint from the nearby home for the deaf after our first session, but after we blocked the windows with fibreglass and rockwall nobody knew we were there. Daylight disappeared and night became permanent. We didn't notice it, but the mood of the record began to form..... We started writing, but there wasn't a plan. There has never been a plan. As we wrote songs, we played them out at gigs - not huge gigs, but sweaty pub basements and social clubs, keeping it word of mouth and chaotic, giving the new music room to live or die. You don't realise what's good about a song until you play it to people. You also don't know if a song's crap until you play it to people. "Anyone In Love" died in the Captain's Rest, but Turn It On turned us on. "English Goodbye" died in the British Aluminium Club, Fort William, but Ulysses became something more than it was when we left Glasgow. We spent a few days with Brian Higgins and his Xenomania team in Kent. We enjoyed the time and it was inspiring, but it became clear to both of us that we shouldn't make a record together. Our worlds are too different..... The HQ evolved into a studio with the help of Paul Savage. Paul was drummer of the Delgadoes and the engineer at Chem 19, the Chemikal Underground studio in Glasgow. We brought over an old Flickinger console that Bill Skibbe found for us in Michigan and Allen Johnston wired the rooms. .... Then we met Dan Carey. He was perfect as a producer - a mad mixer, a chaotic experimenter. Recording with him is like breaking into a science lab with a mischievous brainbox who wants to see what we can blow up. We had a laugh. .... Nick climbed into the rafters of the hall to hang a mic from a thirty foot cable which Dan swung across an amp kicked over and feeding back from Alex's guitar, so we could warp the sound with the Doppler effect of a passing racing car or a diving spitfire on What She Came For. A gaggle of obscure and long forgotten 70's synths were mobilised for the likes of Can't Stop Feeling & Lucid Dreams. Superslinkies hung from the ceiling as primitive spring reverb. Sometimes, on the likes of Live Alone, we'd go super hi-fi and tight in the dead room, then, on tracks like Send Him Away we'd rock out in the cellar under the stage, playing to one mic, so it sounded like it was just you and the band in the room when you played the tape back. We rattled human bones for percussion on No You Girls and sang into the darkness, nothing for company apart from the tingle on your spine and the ghosts of the Saturday night dancing..... Anyway, here it is. Tonight: Franz Ferdinand. You can listen to it quiet, but it's better loud. You can listen to it during the day, but it's better at night .. .. .. .. .. .................... .. ..
  • Members

    ..Paul......Thomson .. Alex....Kapranos .. Nick...McCarthy .. Bob..Hardy.. ..
  • Influences

  • Sounds Like

Biography

The marquee of a theatre before a show.

It's music of the night: to fling yourself around your room to as you psyche yourself for an evening of hedonism, for the dance-floor, flirtation, for your desolate heart-stop, for losing it and loving losing it, for the chemical surge in your bloodstream. It's for that lonely hour gently rocking yourself, waiting for dawn and it all to be even again.

By the end of 2006 we were exhausted - physically, emotionally and creatively. We'd been in the studio or on the road for three years without a break and we needed one. Alex went to Vancouver with the Cribs, Paul raised a family, Bob made a film and Nick disappeared in South America. We met up again in Glasgow a few months later, happy to be in each other's company and excited about creating something new.

Nick found a building for our HQ. He has a knack for it. It was a crumbling Victorian town hall, recently vacated by the drug rehabilitation unit that was the last tenant. The flock wallpaper was peeling a little and the psychedelic municipal carpet was browned with fifty years of council nicotine, but the vibe was great and the monthly rent was half the daily rate of a London studio. There was a noise complaint from the nearby home for the deaf after our first session, but after we blocked the windows with fibreglass and rockwall nobody knew we were there. Daylight disappeared and night became permanent. We didn't notice it, but the mood of the record began to form.

We started writing, but there wasn't a plan. There has never been a plan. As we wrote songs, we played them out at gigs - not huge gigs, but sweaty pub basements and social clubs, keeping it word of mouth and chaotic, giving the new music room to live or die. You don't realise what's good about a song until you play it to people. You also don't know if a song's crap until you play it to people. "Anyone In Love" died in the Captain's Rest, but Turn It On turned us on. "English Goodbye" died in the British Aluminium Club, Fort William, but Ulysses became something more than it was when we left Glasgow. We spent a few days with Brian Higgins and his Xenomania team in Kent. We enjoyed the time and it was inspiring, but it became clear to both of us that we shouldn't make a record together. Our worlds are too different.

The HQ evolved into a studio with the help of Paul Savage. Paul was drummer of the Delgadoes and the engineer at Chem 19, the Chemikal Underground studio in Glasgow. We brought over an old Flickinger console that Bill Skibbe found for us in Michigan and Allen Johnston wired the rooms.

Then we met Dan Carey. He was perfect as a producer - a mad mixer, a chaotic experimenter. Recording with him is like breaking into a science lab with a mischievous brainbox who wants to see what we can blow up. We had a laugh.

Nick climbed into the rafters of the hall to hang a mic from a thirty foot cable which Dan swung across an amp kicked over and feeding back from Alex's guitar, so we could warp the sound with the Doppler effect of a passing racing car or a diving spitfire on What She Came For. A gaggle of obscure and long forgotten 70's synths were mobilised for the likes of Can't Stop Feeling & Lucid Dreams. Superslinkies hung from the ceiling as primitive spring reverb. Sometimes, on the likes of Live Alone, we'd go super hi-fi and tight in the dead room, then, on tracks like Send Him Away we'd rock out in the cellar under the stage, playing to one mic, so it sounded like it was just you and the band in the room when you played the tape back. We rattled human bones for percussion on No You Girls and sang into the darkness, nothing for company apart from the tingle on your spine and the ghosts of the Saturday night dancing.

Anyway, here it is. Tonight: Franz Ferdinand. You can listen to it quiet, but it's better loud. You can listen to it during the day, but it's better at night

Videos

Broken Angel

00:00 | 24574 plays | Jan 14 2007

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Comments

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  • Proyecto Delphi

    Hola Franz , hoy te presentamos en exclusiva la versión que hemos realizado para el CD Multigamia, homenaje al famoso grupo Los Piratas

    http://multigamia.bandcamp.com/track/mi-coco

    en http://multigamia.bandcamp.com y durante un tiempo limitado puedes escuchar todos los temas gratis.

    Un saludo....

    4 days ago
  • valérie vale

    you are great ! all the best ! kisses from france ! 

    7 days ago
  • Tom Champagne

    Come check out our new song!

    8 days ago
  • Mr. Frizo (www.mrfrizo.…

    Goood deal.. We're now friends on Myspace!! I appreciate that!! I hope ya like the music on my page!! If you do, make sure to check out my Official Website at http://www.mrfrizo.com/ =-n

    Oh, I'm on Facebook also at: http://www.facebook.com/mrfrizo1

    Twitter follow: @mrfrizo

    Check out my music on iTunes at: http://itunes.apple.com/us/artist/mr.-frizo/id211003633

    9 days ago
  • truthPacifist

    DEATH IS SWALLOWED UP IN VICTORY [2012] K. BAUER
    FREE DOWNLOAD

     

    Death Is Swallowed Up In Victory [2012] K. Bauer.zip
    www. mediafire. com/ ?2v20e47gm1vyn4n
    (full album: copy link, open new tab, paste link into address bar, remove spaces, hit enter)

    10 days ago
  • Aftershave

     New old song.

    10 days ago
  • Тибо

    Hey guys how are you?
    Tkanks for coming back to Musilac in july!!

    11 days ago
  • Recoil

    RECOIL TOUR T-SHIRTS – now on sale

    Just added at the Recoil store, we have the last few T shirts from Recoil’s ‘Selected Events’ tour, in two different designs. These are the last in stock and will not be re-manufactured, so if you didn’t manage to pick one up on the tour, here is your chance. Unfortunately, we only have a limited amount so they will probably go fast.

    ‘COLLECTED +’ DVD & CALENDAR – last few available!

    Collected + features the remastered version of Martin Vladar’s documentary film which accompanied the AW/DM auction earlier this year. This updated disc features additional unseen footage and a photo gallery, as well as a video summary of the auction day in Manchester. There’s even a new edit of an instrumental-only mix of Recoil’s ‘Intruders’.

    The last few prints of the Recoil Calendar 2012 presenting 13 large photographs by Steve Gullick are also available. We literally only have about 20 left now. The A3 calendar is produced using waterproof, resin-coated, high gloss photographic paper. Don’t miss out!

    All transactions will be processed via PayPal.

    http://store.recoil.co.uk

    13 days ago
  • 16 days ago
  • Theっくり

    Nice to meet you. 

    16 days ago
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