Super Furry Animals
The Super Furry Animals are never a band that can easily be pinned down. Even tracing back to their origins as a techno-rock noise act, the mystery as to what’s motivated and inspired them is ever-elusive.
Forming in Cardiff, Wales in 1993, following the demise of singer Gruff Rhys’ influential rock combo, Ffa Coffi Pawb, the band began as an exploratory trio that dabbled in the extreme end of dance music, which included bassist Guto Pryce and drummer Dafydd Ieuan. Before long, the chosen genre to make music within altered rather dramatically, with a dosage of psychedelia dripping in the newly-added guitars and line-up extension, which featured keyboardist, Cian Ciaran, and guitarist, Huw Bunford.
‘Llanfair... (In Space)’ and ‘Moog Droog’ were their first ever releases and originally unleashed on the Welsh label, Ankst. Despite being sung in their native language – which potentially could have limited their appeal – their penchant and knack for great tracks was noticed by Alan McGee of Creation Records, when he saw them perform at the Dublin Castle in Camden Town, London. They were soon signed up.
Deemed as one of the leading bands in the mid-90’s ‘Welsh movement’ within Britpop, a scene they were tagged to, despite their distinctly un-scene-like sound, SFA penned and performed perfect guitar-pop whilst their actions included delivering bemusing interview-quotes and driving around the summer’s festivals in a multi-coloured tank. Such an irreverence and – quite frankly – don’t give a f**k attitude, culminated in the release of several hit singles, including two top-twenty hits, ‘Something 4 The Weekend’ and ‘If You Don’t Want Me To Destroy You’, as well as an acclaimed debut LP, ‘Fuzzy Logic’, plus the cult, in-between album single, aptly titled, ‘The Man Don’t Give A F**k’. It seemed, by this point, that the Super Furries had set themselves in a mould that many thought was both odd, and alluringly different, welcoming the music-fans that preferred a bit of variation to the norm.
However, come 1997 – with the release of their second full-length effort, ‘Radiator’ – it was clear their career was taking on another spin. Gone was the pop-culture cover-style featuring famed dope-smuggler Howard Marks and – instead – were Pete Fowler’s sleeve-designs of, conveniently enough, furry animals. The change in image marked a change in sound; although the irresistible melodies remained firm-in-place, there was the added exuberance of more digital-sounds – provided by the innovative Cian Ciaran – and epic songwriting. Such tunes as ‘Demons’ and ‘Mountain People’ as examples reflected the more classic song-based structure that made their contemporaries weep in jealously, who were unable to notch up something quite so exquisite. Still, though, singles weren’t achieving the once more prominent positions they had once earned, but their exposure by now earned them a support-slot with Blur on their UK arena tour of the same year, which opened them up to a new audience.
Rather than rushing to set into a third studio album after this, the ‘Ice Hockey Hair EP’ was released, and allowed the group to reach their highest UK chart-position at the time – number 12, granting them another ‘Top Of The Pops’ performance. A compilation CD entitled ‘Outspaced’ followed, featuring over a dozen tracks of previously hard-to-obtain and choice music from the band’s back-catalogue. Next album proper, ‘Guerrilla’, in 1999, was yet another progression, however. Further advances in sound-technology allowed the group to sound more vibrant than before and the final product seemed more commercial and insane than ever before; it even spawned their biggest hit to date, the calypso-inspired ‘Northern Lites’, which was one place short of entering the top-ten within Britain.
But, for what shall possibly be recognised as the most respected action in their career, it was at their peak of success as a group thus far that they decided to release music on their own label, Placid Casual, following the dissolution of Creation. Rather than opting for a conventional release, they returned to their roots and sung entirely in Welsh for ‘Mwng’, which many rate to be their best work, despite the restricted budget. Full of aching melancholy, yet the good-time rock ‘n’ roll that had branded their name, ‘Mwng’ was rich, diverse, and granted the quintet a top-20 album.
However, the independent ethic couldn’t remain forever. The Super Furries have – and always will be – overblown, big and – basically – bloody expensive. So, with a move to Sony’s Epic Records, it seemed fitting that their fifth album, ‘Rings Around The World’, was the first ever in the world to be released on DVD, packaged with a full-length film for every song, and made full use of stereo-surround sound facilities – for which their concerts have become renowned. Containing yet more of the hapless romanticism and inviting experimentation that they’re loved and revered for, ‘Rings’ is currently selling worldwide in markets never reached before and was their highest entry into the charts yet – number three.
So, prolific and as eccentric as ever, it only seems correct to expect the unexpected with where SFA choose to go next. Wherever it is, though and whatever the sound will be, you can bet it’ll be intriguing and vital. And – quite definitely – wonderful.
SUPERFURRY.COM: Official site, run by top webmaster Pie. Full of great grafix and all sorts to keep you busy into the wee hours of any nite.
SFA CHAT-LIST: With over 1,000 members, you\'re bound to meet some friends here. A Yahoo chat-group by name, but a family by nature.
RINGS AROUND THE WORLD: The official website for the band\'s 5th studio-album. Nicely laid out and full of interesting facts and news.
SUPERFURRY.ORG: Unofficial, but great design and easy-to-get-thru navigation. Cool effort all round.
FURRYTALK.COM: Themed around the \'Radiator\' album artwork, this site is a pleasure to the eye, with a good emphasis on linking up fans.