Friendly Fires, Inflorescent review: Neutered disco-funk

While there are some interesting sounds here and there, the overriding feeling is of a more club-friendly Take That

Adam White
Thursday 15 August 2019 14:54 BST
Comments
Ed Macfarlane of Friendly Fires performs on the Mixup stage during Splendour In The Grass 2019
Ed Macfarlane of Friendly Fires performs on the Mixup stage during Splendour In The Grass 2019 (Getty)

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

Friendly Fires haven’t released an album since 2011’s Pala, a triumphant Eighties pastiche full of big choruses, Tears for Fears soundalikes, and brilliant, full-throated wailing from frontman Ed Macfarlane. After a lengthy hiatus, Inflorescent, the band’s third album, does feel like a progression – only not quite as far-reaching as you would imagine. Rather than imitating 2011, Inflorescent instead brings to mind the summer of 2013, overwhelmed as it is by a neutered disco-funk sound reminiscent of Daft Punk’s inescapable “Get Lucky”. Only rarely as catchy.

Which isn’t to say Inflorescent is a complete wash. Standouts include “Offline”, which is lifted straight from “Outside”-era George Michael, “Sleeptalking”, a shimmering house track full of minimalist 1990s synths, and “Lack of Love”, which sounds like something left off a Hot Chip album from 2009. But while there are some interesting sounds here and there, the overriding feeling is of a more club-friendly Take That, full of trumpets, saxophones and odd smooth-jazz flourishes.

Friendly Fires have never wanted to fit in with trends, making catchy indie dance-pop even when Razorlight were busy appearing on the covers of NME every other week. But as it continues, Inflorescent becomes less an act of creative daring, and more a case of “who is this even for?”

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in