FOALS: Total Life Forever CD British indie rock. Check all samples and video

Description

Total Life Forever is the second studio album by British indie rock band Foals, released on 10 May 2010 through Transgressive Records. Prior to the albums release, the band described it as sounding “like the dream of an eagle dying”. It was produced by Luke Smith, and was recorded at Svenska Grammofon Studion in Gothenburg. Upon its release, the album charted in numerous countries worldwide, including number eight in the UK Albums Chart.

Check all samples: www.allmusic.com/album/total-life-forever-mw0001979439

Track listing:
All songs written and composed by Foals.
No. Title Length
1. “Blue Blood” 5:17
2. “Miami” 3:42
3. “Total Life Forever” 3:18
4. “Black Gold” 6:26
5. “Spanish Sahara” 6:28
6. “This Orient” 4:06
7. “Fugue” 0:49
8. “After Glow” 6:09
9. “Alabaster” 4:00
10. “2 Trees” 5:11
11. “What Remains” 4:37
Total length:
50:21

Foals, suggests Total Life Forever, are thinkers. Whereas most bands seem comfortable dropping a second album that sounds a lot like the first one but recorded a bit quicker, this Oxfordshire quintet have done their utmost to reinvent themselves as every turn. Largely gone is the furious dance-punk that powered their earlier singles, already beginning to fade as they dropped their 2008 debut Antidotes. Replacing it on Total Life Forever is a broader musical canvas that is becoming becomes increasingly hard to pigeonhole. Recorded with producer Luke Smith, formerly of Clor, songs like “After Glow” and “This Orient” are voluminous, heavily textured exercises in atmospherics and percussion that draw on shoegaze, the Fourth World funk of later Talking Heads and experimental electronica.
This is not to say, however, that Foals have entirely bred out their pop gene. “Miami” fuses boom-bap beats with a stiff funkiness and fluid guitar lines that recall Battles, while the title track is a cool ska strut that finds Yannis Philippakis crooning “I know a place where I can go when Im low”. Its not all immediate, but Total Life Forever is plainly crafted with care and attention, the sort of record that sinks gradually into your consciousness and stays put. -Louis Pattison

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Review
Second albums, as John Lennon once famously remarked, are what happen when you’re busy making other plans. Just ask Oxford five-piece Foals, whose career to date has been distinguished by colossal doses of hype and the sort of niggling pomposity which led frontman Yannis Philippakis to declare his ambition to write a “ballet with beats”. Foals, he seemed to be suggesting, were in the Future Business.
The bands 2008 debut, Antidotes, delivered on the early promise of their cool-yet-frenetic style. But the widescreen production from TV on the Radios Dave Sitek hinted at the limitations of their approachsomething, you felt, would have to give for Foals to step things up a notch. Their answer on Total Life Forever is to relax the binary plotting of their punk-funk jams and punch up the pop factor. If this all sounds distressingly unlike the future, thats because it is. But we needn’t fret: the trick here is to locate a beating heart, the missing Z to their rigorous X and Y axes, without losing sight of what made them so exciting in the first place.

First single This Orient is compelling evidence they’ve pulled off the balancing act with panache, shades of Steve Reich infusing the swoonsome pop splendour Bloc Party could never quite muster. Meanwhile Spanish Sahara is a mortally-fixated centrepiece, inspired by the young Philippakis’ traumatic encounter with a dead dog floating in the sea. Building in vaguely post-rock fashion from stark beginnings that recall The xxs tousled melancholy, it reaches a superb finale, easily the most affecting thing they’ve done.

Indeed, this albums opening salvos make such light work of this lightening up business you’ll wonder if its The Mystery Jets’ new record you’ve walked in on, not Foals’. The chimed intro of Blue Blood features Yannis properly singing and could almost be Glasvegas, at least until it suckers you with an ace chorus that steps directly to the dancefloor. Miami is 80s stadium funk with barrelling bass and a strangely hip hop undertow. And the title-track feels similarly funky, but in a precision pop context. Elsewhere, 2 Trees finds subtler ways to grow: its a breathy beauty recalling the delicately-knitted textures of Can at their most blissed-out.

Total Life Forevers break with the past is astutely judged, the execution is even better. For all their occasionally high-falutin’ talk of Arthur Russell and Fela Kuti and the Wu-Tang Clan as influences, Foals’ victory here is to loosen up and enjoy the moment. After all, the future can be a self-defeating business.