For this review, I decided to go back and listen to Friendly Fires' debut self-titled album as a predecessor to their follow-up effort, Pala. I was reminded of what a solid debut album it was, packed with dance-floor fillers that had the kids dancing for the most part of the last 3 years or so. Couple that with the deluxe edition of the album, which included the band’s break-out single Kiss Of Life, and you have a band that is raw and highly talented, yet largely symptomatic of the British indie scene which unfortunately, resonates around media misrepresentations and enigmas that provide bands with levels of hype often hard to deal with in an artist's early stages.
Thankfully, as the first notes of Live Those Days Tonight ring out at the beginning of Pala, Friendly Fires announce themselves as a completely different beast in 2011. In fact, they immediately strike the perfect balance between keeping their devoted fans pleased while allowing new ones into their world simultaneously. It is a fantastic album opener, with the cowbells and whistles of their debut making way for shimmering 80s synths, sharp melodies and well-executed guitar lines that maintain their original euphoria albeit in a far more mature manner. Acclaimed British producer Paul Epworth, who had previously reworked some of the band’s more successful tracks including Jump In The Pool, Skeleton Boy, and Kiss Of Life, took control of Pala. In comparison to the band’s first full-length where they had creative control over all but one track, Epworth’s inclusion clearly provides the band with a greater sense of direction on Pala, producing a feel that never negates or neglects the listener but rather keeps them involved in the sound as a result of impeccable mixing and instrumentation.
The overall feel is summery; Hawaiian Air will sum this up for you in an instant with its longwinded siren-like synth strikes and reflective lyricism courtesy of eccentric lead singer Ed McFarlane. Another track that jumps out of Pala is Blue Cassette; the song generally moves along as an observational tale delivered with McFarlane’s typical English swagger in the slower moments, then becomes a dynamic journey through electronic samples representative of the music scene’s recent chillwave exploration, with the addition of thumping rhythms for good measure. It is hard not to feel engaged by what is going on here, as track after track you are lured into some sort of wonder world that keeps on giving. Whether it’s the slow burning title track that swims along elegantly, the insatiable feel of Running Away which demonstrates the band’s forebearing influences, or the demanding hip-hop feel of Show Me Lights, Friendly Fires indicate that they are ready to take their sound to levels it seemed were critically unbeatable on their debut long-player.
However vibrant this album comes across, there is still a sense of yearning in McFarlane’s lyricism. Where at times it is incredibly exploratory and escapist in nature, a deeper undercurrent can be found just as frequently throughout Pala. True Love is a classic example; the song tricks you with its funky bass lines and light chromatic feel, yet McFarlane’s vocal becomes desperate and listless upon further examination. The same can be said for Pull Me Back To Earth, as the title is harmoniously repeated amongst another well-produced soundscape, further demonstrating how far the 3-piece have come in their time out of the limelight. Pala’s blaze of glory is Hurting, a slow disco jam that would have been a mere blip on their previous album’s radar. The maturity shown in the band’s delivery here provides a genuine crossroad between today’s music and that of yesteryear, displaying everything which is good about Pala that demands it be repeated.
Friendly Fires have come of age and knuckled down in 2011. That is what can be taken from Pala on the whole. But their more serious attitude doesn’t necessarily reflect a change in musical inclinations, with their sound remaining easily danceable in conjunction with an increased level of refinement. There are many times on Pala where you have to listen hard, as there is a lot going into creating the atmospheres that Friendly Fires thrive on. This would largely be a result of Epworth’s heightened production influence which has allowed the band to remove the perceived novelty from their work and replace it with a more genuine sentiment. Although their 2008 release contained many unforgettable tracks, it feels like on Pala, the more memorable moments here hold greater personal meaning. It appears as though Friendly Fires will be remembered more so for this pop gem than anything else they have produced thus far.
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