- Quinnipiac women’s basketball eliminated by No. 1 UConn in NCAA Tournament
- Mutual respect
- Quinnipiac women’s basketball tops Miami to advance in NCAA Tournament
- Conor’s Column: Do the Bobcats have to live by the three?
- Chronicle Sports Staff makes 2018 March Madness picks
- Quinnipiac men’s ice hockey’s season ends at Cornell
- Quinnipiac men’s lacrosse cruises past Wagner, 11-3
- Feldman joins the century club
- Cait’s Column: No. 9 Quinnipiac men’s ice hockey trounced by No. 1 Cornell
- Dancing again
Europe’s Franz Ferdinand hopes to mirror musical success in U.S. with debut release
The year is 2001. A bottle of Vodka is sitting unguarded on the kitchen counter of a Glasgow, Scotland flat during a social gathering. A hand reaches for it, but just before Nicholas McCarthy can make away with it, the bottle’s rightful owner, Alexander Kapranos, comes to its rescue.
An offence such as pilfering a Scotsman’s booze would almost always result in many fists thrown in addition to several head butts, but somehow McCarthy and Kapranos settle on another alternative: they start a band.
Together with Bob Hardy, co-founder and bassist, and Paul Thomson, arguably one of the best drummers in Glasgow, the four come together on a special quest to make rock music that is artistic, but not above driving hordes of female fans to lose control of their bodies and dance.
Despite their differences in nationality (English, Scottish, and German), Franz Ferdinand has come together armed with a better than average knowledge of European history and a common interest in the stressed and aforementioned goal of getting chicks.
On their home turf, Franz Ferdinand has achieved both objectives in creating music. The band has drawn the hordes of dancing girls and, perhaps slightly less important to the band, guys with bassy tunes that will have even the most stubborn of wallflowers tapping their feet, and sometimes catchy rather than clever lyrics sung with a crooning “bored with life”-sounding voice that has become commonplace for many lead singers in their genre.
However, the band’s instrumentals stand exceptionally well on their own, allowing the band to distance and distinguish itself in the music scene.
Their sound varies with, and sometimes within, their songs and melds straight up rock, funk, and something almost discoesque to form a powerful weapon that is unleashed upon anybody who just came to hold their drink and nod to the beat.
The band has recently signed with Domino Record Company and has continued to write, record, and sometimes, albeit illegally, perform in an art warehouse affectionately referred to as “The Chateau.”
It is from here that the “new Scottish gentry” plan their assault on groove-vulnerable female audiences. Their self-titled album will debut on March 9.
The single for that album, “Take Me Out” has reached number three on the British charts above releases from Beyonce and Metallica.
They have recently graced the Northeast with their presence by playing three dates in the area. Starting Feb. 19, they will play in New York City and end Feb. 25 in Boston.
The band will finish the rest of their US/Canadadian tour on the heels of their album’s release.