For Foals’ third record, the band of English math/dance rockers settled on a name apparently referencing an annual miracle observed under Greek Orthodoxy in which a flame descends from a church dome. The album Holy Fire is no miracle itself. But pretensions aside, it serves as something of a vibrant return to form from their more experimental sophomore release.
Following a lofty and atmospheric instrumental opening “Prelude,” Foals get things moving with the album’s first single, “Inhaler.” An effects-laden riff leads the verse through its rollicking groove, with vocals by singer Yannis Philippakis sounding equal parts Chk Chk Chk and Bee Gees. By the time the chorus comes around, Foals have put on their collective game faces for one of the heaviest parts they’ve yet recorded, emanating the melodic post-hardcore screeches heard at Warped Tour and the like. Surprisingly, the transitions between these polarized sounds are pulled off in a nearly seamless fashion. One moment in the song could incite mid-tempo dancing, and the next may result in manic moshing.
Philippakis’ singing is as on-point as ever, maintaining vocal consistency unmatched by soundalikes such as Klaxons. His peak comes in the slow tune “Late Night,” on which his characteristic yelp develops a sharp rasp suiting the song’s emotive funk. Later, “Providence” has him appealing in a bluesy drawl, “I’m just an animal, just like you.” Here, the Animal in question may well be the percussionist of “Muppets” fame. Drummer Jack Bevan indulges in his time to shine in this rare 7/8 dance track, which climaxes in the kind of drum kit explosion that has claimed Spinal Tap drummers.
Holy Fire is unquestionably less calculated than its predecessor, but it is far more visceral. At the end of the day, these lively vibes are more desirable for a predominantly danceable act like Foals.
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