The British band's fifth studio album, Everything Not Saved Will Be Lost Part 1, explores the end of the world—and contains some of their best work in years.
Foals is more than happy to tell you they haven't missed a beat.
After the departure of a founding band member, bassist Walter Gervers, and a four-year gap since their last release, What Went Down, the British band seemed more than ripe for an identity crisis. But Everything Not Saved Will Be Lost Part 1 sees Foals still working in their wheelhouse, marrying indie-pop-fuzz to an infectious beat. Part 1 turns the band's gaze outward for ten tracks, imagining a world on the edge of Armageddon, and wondering what's worth keeping us here with the end fast approaching. It's a heady concept, and the album occasionally wavers under its weight with uneven pacing and a focus on sound over lyrics, but Foals works hard to keep the apocalyptic tone compelling. "We've got all our friends right here," singer Yannis Phillippakis cries on album crescendo "Sunday"—the danceable despair of Part 1 isn't about shock value, but instead chooses the sound of grooving humanity as an answer to an impending cataclysm.
Part 1 poses some serious questions, and whether Part 2, set to be released later this year, will be a direct response to the first, or maybe a maturation of the questions themselves, remains to be seen. But Part 1, armed with cohesive sonic ease and surprisingly beautiful message, can undoubtedly carry both Foals fans and newcomers until the sequel is released.
Part 1 Everything Not Saved Will Be Lost
Matthew Apadula is a writer and music critic from New York. His work has previously appeared on GIGsoup Music and in Drunk in a Midnight Choir.
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Animation is lame and live-action is awesome.
Everybody loves Disney live-action remakes.
In a world plagued by racism, disease, and a seemingly endless bounty of spiraling misfortune, at least we can all agree that Disney knocks it out of the park every time they dredge up an old, animated movie for a live-action makeover because cartoons are for babies.
Sure, some of us thought the original Beauty and the Beast was fine, but could lame, 2D Belle ever hold a candle to 3D Emma Watson? And yeah, the original Lion King was okay, I guess, but there's nobody in the world who preferred cartoon Scar's rendition of "Be Prepared" to the incredible feat of getting a real lion to sing it in the live-action remake.
Being a Disney fan can be hard sometimes, as you have fond memories of beloved childhood movies but also don't want people to make fun of you for liking cartoons. That's why, out of all the corporations in the world, Disney is undoubtedly the most selfless, willing to spend hundreds of billions of dollars to bring their old, outdated movies into the modern age—all for the fans.
After Halle Berry walked back her consideration of playing a transgender character, we look back at how Hollywood has repeatedly fumbled trans representation.
Halle Berry has made headlines this week after turning down a role in which, had she gone through with production, would have represented a transgender man.
Berry, an Academy Award-winning actress known for roles in films like Monster's Ball, Catwoman, and Gothika, took to Twitter Monday night to apologize for considering the role. "Over the weekend I had the opportunity to discuss my consideration of an upcoming role as a transgender man, and I"d like to apologize for those remarks," Berry wrote. "As a cisgender woman, I now understand that I should not have considered this role, and that the transgender community should undeniably have the opportunity to tell their own stories."
The post continued: "I am grateful for the guidance and critical conversation over the past few days and I will continue to listen, educate and learn from this mistake. I vow to be an ally in using my voice to promote better representation on-screen, both in front of and behind the camera."