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FFS

Stave

Reform

    Reform is the first work by Stave. The album is an exercise in precision and spacialization, with isolated electronics and icy beats producing a grisaille of vaporized metals.

    Tracks move from disembodied murk and blunted pulses to sustained forcefulness. Touch points include techno, ambient and industrial predecessors, all bent gravitationally towards a dark, cold and unsettling soundworld.

    Based in Chicago, Stave is the solo project of Jonathan Krohn who also collaborates in the group Male.

    FSS has manufactured a limited edition of 200 LPs, each packaged in hand screened, die-cut covers with a download code.

    Mastered and cut to lacquer at Chicago Mastering Service by Shelly Steffens.

    Grinding, noisy and decidedly cavernous, "Tower9" slots Stave in amongst contemporary techno/drone botherers Vatican Shadow, Container and even Raime, but listen closer and you'll hear that Krohn's influences are a little further into the past. "Tower9" takes the Muslimgauze imprint (punishing overdriven loops, decaying samples, off-key drones) and fuses it with the rhythmic sensibility of an early, Analogue Bubblebath-era Richard D. James and comes up with a sound that while capturing the zeitgeist, manages to stand out pretty easily. FACT April 8, 2012

    TRACK LISTING

    1) The Fear
    2) Stave
    3) Tower9
    4) Gun Control
    5) Reform
    6) Disc1
    7) Minus3

    FFS

    FFS

      The product of a unique collaboration between Franz Ferdinand and Sparks, ‘FFS’ was produced by Grammy Award winner John Congleton (St Vincent, David Byrne, Anna Calvi) and recorded at London’s RAK Studios.

      The seed of FFS was sown around the time of Franz’s debut album when word got back to the Maels that the band were big Sparks fans. “We thought ‘Take Me Out’ was very cool, and wouldn’t it be nice to say hello when they came to Los Angeles?” recalls Russell Mael. “We met and decided then it would be great to do something together. We put forward a couple demos, one was ‘Piss Off’. But they got swept up by everything, and it didn’t happen at that time.”

      Fast-forward to 2013 when both Sparks and Franz Ferdinand appeared at Coachella. On the day of Sparks’ warm-up show in San Francisco, Kapranos was in the city trying to locate a dentist when he heard a voice behind him: “‘Alex, is that you?’ It was Ron and Russell. They invited us down to see them play that night. We said hello after, and everyone agreed that the 10-year gestation period for this idea was long enough - we should try and make it happen now.”

      ‘FFS’ was recorded during an intense 15-day period in late 2014. “We approached it the way bands do with their first record,” says Kapranos. “We had the songs first, rehearsed them and then recorded it all together, in a room. So no hanging around or fannying about.”

      Very much a ‘new’ project, ‘FFS’ doesn’t truly sound like either band but a striking and fascinating mutation. “The real motivation was to make something new, not ‘Franz featuring Russell Mael’, or ‘Sparks with Franz Ferdinand backing them,” says Alex Kapranos. “You can’t chart what is Sparks and what is Franz Ferdinand,” suggests Ron Mael. “I think each band unconsciously relinquished a little of who they were in order to enter new territory.”


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