Interview With Franz Ferdinand: Identity, Instinct, and ‘The Human Fear’

Atwood Magazine discusses Franz Ferdinand’s latest record ‘The Human Fear’ – and its expansive undertaking of fear itself – with the band’s lead singer Alex Kapranos.

Stream: ‘The Human Fear’ – Franz Ferdinand

Overcoming fear is an exhilarating experience. I think this is a life-affirming album because overcoming fear is life-affirming. It’s the best part of being alive.

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Everyone and their mother has heard “Take Me Out.”

Anyone conscious in 2004 can recognize the twang of the guitar riff from a mile away, especially at a sporting event, dive bar, or violent video game.

The single propelled Franz Ferdinand, a quartet of Scots, to superstar status, arguably as mainstream as alternative rock can get. The past two decades have ushered in multiple records, the formation of a temporary supergroup, and a change in band members. However, Franz Ferdinand has maintained the ability to sound like Franz Ferdinand. As frontman Alex Kapranos states, “I’ve seen artists I’ve loved respond to fashionable changes and change themselves. It’s always a mistake. The artists with long careers always seem to be comfortable with their identity.”

So what is Franz Ferdinand’s identity? Is it their commitment to making danceable music, or perhaps their ability to write a sleazy, beer-soaked hook? In the case of their latest record The Human Fear (out January 10, 2025 via Domino Recording Company), it is their exploration of a single theme. Fear is the backdrop to each track, navigating the twists and turns of everyday life through stories, both mundane and extraordinary.

Franz Ferdinand 'The Human Fear' album art — Franz Ferdinand ‘The Human Fear’ album art

Kapranos confirms that he was searching in his songwriting. “Tell Me Should I Stay” begins with a Moonlight Sonata-esque piano introduction that erupts into an Arcade Fire-adjacent celebration of tambourine and snare drum. The verses feature a sinister lilt (see also, “Everdaydreamer”) that disintegrates into the chorus, a lighter and brighter affair. “Night or Day” is one of the strongest tracks, helped along by its plain sailing lyrics and syncopated groove. New band members have brought different flavoring, like keyboardist Julian Corrie.

This exploration of concepts by Franz Ferdinand, is new, though timely. It is the undertaking of risk, the search for an optimum place of creativity.

Kapranos reminds his listeners, “I don’t want to be predictable.”

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:: stream/purchase The Human Fear here ::

:: connect with Franz Ferdinand here ::

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“Audacious” – Franz Ferdinand

A CONVERSATION WITH FRANZ FERDINAND

Atwood Magazine: If Wikipedia does not lie, it’s been 22 years of Franz Ferdinand. Do you ever find it difficult to exceed your own or other expectations about the band?

Alex Kapranos: I don’t think I find it difficult, but it is definitely something that took time to wrap my head around. I don’t really care so much about reputation in a creative sense. I don’t feel that I have to compete with something. It’s more about identity, I feel it’s good to be comfortable with your own voice. I’ve seen artists I’ve loved respond to fashionable changes and change themselves. It’s always a mistake.

The artists with long careers always seem to be comfortable with their identity. Beck has been going for thirty years, but he still sounds like Beck. Maybe it’s a reputation within yourself. I feel comfortable putting out a record and people knowing it’s a Franz Ferdinand record. I feel like I have nothing and everything to prove. I have to prove something with my new work. When you are comfortable with your identity, it’s liberating. I know who I am, and I am going to do something new with that voice.

This record, however many years or albums later, still sounds like Franz Ferdinand. How do you make sure your music is authentic?

Kapranos: I think the metric is the same that you use for all good things in life: your instinct. If you like somebody, your instinct tells you so. If you were to sit and dissect why you fancy somebody, it’ll be pretty unromantic. But your instincts will say to you that this person is exceptional. It’s the same when you write, arrange, and perform music. If something is not sitting right, it’s time to get out and dodge.

Are there any songs you look back on that would not pass the test now?

Kapranos: In early 2016, just after the Republican nominations, we wrote “Demagogue.” It felt that no one was taking a certain candidate seriously. While my political opinion hasn’t changed, I feel the musical landscape has. I am drowning in songs written from a political perspective. People are shouting really stupid, obvious stuff at me. There are nuances and subtleties I would rather write about.

I feel comfortable putting out a record and people knowing it’s a Franz Ferdinand record. I feel like I have nothing and everything to prove. I have to prove something with my new work. When you are comfortable with your identity, it’s liberating. I know who I am, and I am going to do something new with that voice.

Prior to 2016, I had a hard time finding political music in the mainstream, excluding hip hop and the occasional anthem. When I think of protest music, I think of Bob Dylan, Marvin Gaye, Billie Holiday. Do you think we can strike the balance of this time period or these artists again?

Kapranos: It’s very hard to write good protest music and make it universal. I don’t want to insult the intelligence of my listeners. I assume they are more intelligent than I am. To sum up a complex situation into a hullabaloo of lyrics rubs me the wrong way. Some people can do it really well, like Bob Dylan and Woody Guthrie. “This Land is My Land” appeals to people of all political persuasions. I prefer that level of song, and I don’t think I can compete with that.

I think we have left the land of universality.

Kapranos: Guthrie had a strong political slant, but to be able to express that well is difficult. We live in an age of polarization, even when it’s people who are theoretically on the same side. I find it wearying.

I’ve been seeing a resurgence of ‘80s influence recently. I also hear it in this record, especially in “The Doctor.”

Kapranos: I love the music from that era. I grew up trying to play Johnny Marr parts. “The Doctor” does have that flavor to it. When I wrote the song, it was written on a 12-string guitar and it sounded very singer-songwriter-y. It didn’t sound like us. We took it to the band, which is where songs usually get their life. We were sitting around in the studio and our keyboard player began to play this old synth. It was like the one that Jean Michel Jarre used to play. That sound and the rigid metronomic rhythm took us back to that time.

Any other specific inspirations?

Kapranos: “Hooked” is probably connected to a different sound. In the early 2000s, I loved Timbaland. It’s a very different production approach – it’s dry and sparse. That’s generally an approach I like, I love the brutal editor. When you look at something outside of your sphere, it ends up sounding like neither of you, it’s not very Franz Ferdinand or Timbaland.

Actually, I think all of these sparse verses and big choruses are all over the record. Did you struggle with the sparseness at all? I find it’s harder to take away than to add.

Kapranos: Yes, definitely. But it’s also my favorite part.

Why was fear the topic of this record?

Kapranos: Good question! [laughs] I didn’t know I was doing it. I’ve never written an album to a concept before. I always feel you are searching for something when you write a song. The last lyric I wrote for the record is, “I’ve got the fear, I’ve got the human fear.” Then, everything fell into place. “Night or Day” is the fear of committing to a relationship, “The Doctor” is the fear of leaving someplace safe. “Audacious” is the response. Overcoming fear is an exhilarating experience. I think this is a life-affirming album because overcoming fear is life-affirming. It’s the best part of being alive.

It’s very interesting to hear this band talk about fear. A concept album from Franz Ferdinand is not what I expected.

Kapranos: I think that is good! Like we were saying, you should be able to surprise people while still being yourself.

We did an album with Sparks a few years ago, and I loved that no one expected us to do that. Similarly, we covered Chappell Roan, and people wanted us to play it at our gigs. But no! That ruins the surprise. I don’t want to be predictable.

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