The French Open lyrically portrays tennis player Andy Roddick, along with his “games, racquets, gadgets”. It’s quite a simple approach to songwriting, however, the emphasis is on the rhythm and delivery of these words; rather than an elusive hidden message. Additionally, this aforementioned delivery is rather electrifying, and —along with a great drum accompaniment, and powerful brass section— makes for a fun, energetic, and jumpy opening song.

Low-Mid 8.

Cassius is quite an interestingly written text. It beautifully juxtaposes Gaius *Cassius* Longinus (the main organiser for Julius Caesar’s assassination) and *Cassius* Clay (Muhammad Ali), simultaneously merging them into a single character. This amalgamated figure of *Cassius*, the song’s subject, represents those with a dishonest and deceitful inclination. Additionally, the symbolism of “two” is extended to the line “it’s over, you’re second best” — where we see the eventual downfall of this figure, reminiscent of Muhammad Ali’s loss of dominance in the last leg of his carrier. Whether it was a fluke or absolute genus, these lyrics are unequivocally worth analysing as this is probably one of the most impressive lyrical feats in Foals’ discography. Instrumentally, the listener is treated to a danceable chorus, euphoric syncopations, and some more evocative brass arrangements. It’s a beautifully carefree cut, and so are the vocal performances.

Low 9.

Red Socks Pugie is another enjoyable moment in lyricism. The exploration of how love can positively and negatively affect the human body on a physical level is fairly creative. Instrumentally, it begins with a subtle and dreamy disposition, but eventually becomes one of the most danceable choruses (and overall moments) of the record. Additionally, the vocal melodies are among the most playful on the album; also, they are honestly scream-inducing due to the delivery and attitude with which they are sung. However, the last outro section is needlessly long and makes the whole track feel slightly more long-winded than it needed to be.

Mid 9.

Olympic Airways narrates the very mobile life of a group of birds. They seem to have escaped their aviary in an act against monotony, but become subject to the outside’s turmoil as a —probably worthwhile— tradeoff. They also show innocence in how they believe they’ll arrive at another “aviary far from home” rather than at an unforgiving wilderness. The instrumental features a bright guitar riff made up of harmonics, on top of a more laid-back and enveloping ambience than previous tracks. Personally, this simplicity and lack of energy make this one of the weaker moments on the record, but it’s still a wholly enjoyable one.

Mid-High 7.

Electric Bloom: The “marching bands” and “captains” mentioned suggest that the lyrics are in the context of war. The initial near-death experience —and eventual death— of our protagonist is treated in an irritatingly blasé way, as just another person in “just another hospital”. Contrarily, the more laid-back flavour of composition is a truly fitting decision this time around, as it’s complemented by delayed vocals, immersive guitar arrangements, and a tight drum accompaniment. What’s more, this cut is another with highly memorable and shoutable vocal performances.

Low 9.

Balloons makes the suggestion that love is not eternal by calling it “a fuel”. Also, the idea of a relationship without turmoil (the oxymoron, “fair weather storm”) is further described as unattainable and “in your head”. Instrumentally, the guitars at the beginning have a beautifully amalgamated tone and thus deliver an entrancingly arranged introduction. This trance is quickly broken in half as soon as the drums come and bring a gigantic amount of raw energy with them. Once again, the —now high-pitched— brass arrangement is a rather appreciable addition, and so are the panned guitar riffs which accentuate an already danceable chorus.

Mid 9.

Heavy Water is about fighting vampires, which could be a nice metaphor for any kind of affliction really. Sonically, the first half of the track is a leisurely approached and enveloping atmosphere made up of bright guitar tones and a healthy amount of vocal reverb. Moreover, the second half of the cut picks up the pace after a wholly commendable breakdown, evocatively integrating another playfully energetic brass accompaniment.

Mid 8.

Two Steps, Twice paints the picture of slowly and steadily “learn[ing] to swim” — arguably through life, with the use of music and dance. Instrumentally, this is another case of an admirable structure: beginning with a gradual buildup that continuously adds tension, before a sudden cutoff that leads to another buildup and final climax — it’s really quite a sight to behold. Moreover, the creative way in which both guitars and vocals are layered is applaudable as they remain cohesive and comprehensive due to a commendably clean mix.

Mid-High 9.

Big Big Love (Fig. 2) seems to describe a relationship that has turned unrequited in an endearingly honest and saddening way. This is carried over to the instrumental, which has a melancholic and slightly dreamy atmosphere. It’s slightly long-winded, but the impressive qualities of the track remain and make it a wowing moment in the tracklist regardless.

Low-Mid 9.

Like Swimming is an interesting palette cleanser and instrumental interlude. It would be mildly throwaway if it weren’t for how well it leads into “Tron”.

Mid 8.

Tron evokes generational anger, suggesting that it’s unfruitful to dump unresolved issues on your children. This anger is seemingly the fuel for the wishful escapism shown in the rest of the lyrics. Instrumentally, this track delivers on its name with its high-energy electronic melodies. Moreover, the danceability is at a lively peak, and it’s greatly accompanied by yet another showcase of compelling brass arrangements.

Mid-High 8.

XXXXX (Live at the Scala) is a bonus track that won’t affect scoring. Also, It’s a short and sweet instrumental live jam with a nice buildup and a highly energetic breakdown.

Low 9.

Dearth (B-Side) is a bonus track that won’t affect scoring. Lyrically, it explores a need for escapism so intense that the speaker wishes to be rid of their own “skeleton” — seemingly to be in the company of the person they address throughout the cut. Instrumentally, it’s a simple albeit focused and danceable song. It’s as straightforward as it is a showcase of potent, consistent energy from beginning to end.

Mid-High 9.

Titan Arum (B-Side) is a bonus track that won’t affect scoring. This song explores the internal dialogue that happens at a time of high anxiety, telling oneself to “sleep [it] off”. Instrumentally, this is paralleled as the mood is quite laid-back, meditative, and fitting in relation to the lyrics.

Low-Mid 8.

Gold Gold Gold (B-Side) is a bonus track that won’t affect scoring. The lyrics speak of a failed attempt at escapism because of something acting as “an anchor down”. However, it is said that there was “no home to go to” in the first place, leaving the listener with a bittersweet and nuanced message of entrapment and belonging. Sonically, this cut lies at the midway point between the upbeat and dreamy qualities of the rest of the record. And although the ideas and unique mood of this bonus song are interesting and enjoyable, it’s not fully focused, cohesive, or all that finished.

Mid-High 7.

Glaciers (B-Side) is a bonus track that won’t affect scoring. It poetically details a getaway, where the narrator finally leaves someone hindering behind. Moreover, the speaker seems to be trying to give them some last words of advice before departing. The instrumental takes a complete detour and incorporates elements of trip-hop and psychedelia in a distant-feeling atmosphere. Although this acts as an impressive moment at first, it’s a long-winded and unfinished effort.

Low-Mid 7.

Brazil is Here (B-Side) is a bonus track that won’t affect scoring. The undecipherable lyrics contain mentions of a “life-raft”, a dead “king”, and a “volcano”, which all come together to paint a somewhat apocalyptic atmosphere — which is honestly an interesting thing to dance to. Speaking of dance, the polyrhythmic and syncopated guitar compositions are as intricate as they are simply fun and moving.

Mid 9.