Franz Ferdinand: Nicholas McCarthy (vocals, guitar, keyboards); Alexander Kapranos (vocals, guitar); Robert Hardy (bass guitar); Paul Thomson (drums).

Audio Mixer: Rich Costey.

Recording information: New York, NY; Scotland.

Opting not to fix what broke them, You Could Have It So Much Better serves up more of the stylish, angular sound that worked so well on Franz Ferdinand's debut. After years of rehearsing in abandoned Glasgow warehouses and playing in relatively obscure groups like the Yummy Fur, it's perfectly understandable why the band chose not to mess with a good thing -- and why they chose to follow up the breakthrough success of Franz Ferdinand so quickly. But, after a year and a half of near-instant acclaim and constant touring, Franz Ferdinand return with songs that just aren't as consistently good as the album that made them so successful in the first place. A lot of You Could Have It So Much Better feels like a super-stylized caricature of the band's sound, with exaggeratedly spiky guitars, brooding crooning, and punky-yet-danceable beats. This isn't an entirely bad thing: "The Fallen" begins the album with a wicked, gleeful welcome back that embraces the jaunty mischief running through most of Franz Ferdinand's best moments, while "I'm Your Villain" effortlessly nails the darkly sexy vibe they strived for on Franz Ferdinand. Meanwhile, the famous friends, arty parties, and "shocking" homoeroticism of "Do You Want To" -- which feels more like a victory lap than a comeback single -- play like knowing, tongue-in-cheek self-parody. However, too many tracks on You Could Have It So Much Better are witty and energetic in the moment but aren't especially memorable. "You're the Reason I'm Leaving," "What You Meant," "This Boy," and the oddly anti-climactic finale, "Outsiders," are Franz-lite -- not at all bad, but not as good as even their early B-sides and certainly not up to the level of "Take Me Out." What helps save the album from being completely predictable are slower moments like the pretty, jangly "Walk Away" and atmospheric, piano-driven songs such as "Fade Together" (which really should've been the final track). Best of all is "Eleanor Put Your Boots On," a gorgeous, Beatlesque ballad that suggests that if Franz Ferdinand have songs this good in them, they're selling themselves, and their fans, short with most of the songs here (you could have it so much better, indeed). Not so much a sophomore slump as a rushed follow-up, You Could Have It So Much Better probably would've been better if Franz Ferdinand had waited until they had a batch of songs as consistent as their first album, but as it stands, it's still pretty good. ~ Heather Phares

Often referred to as Scotland's Interpol, Franz Ferdinand made the scene with a sound that, like its NYC contemporary, owed a huge debt to 1980s post-punk and new wave. That fact, along with the members' snappy outfits and art-school sensibilities, allowed the group to easily slide into a fan-space somewhere between The Strokes and The Rapture. While the Wire influence is still in full effect on the Glasgow quartet's second full-length album, YOU COULD HAVE IT SO MUCH BETTER, there are also big dollops of Beatles, from the throbbing McCartney-esque bass on "The Fallen" to the "Julia"-style vocals on the acoustic ballad "Fade Together." With its clever lyrics and jaunty feel, "Eleanor Put Your Boots On" mines mid-period Kinks territory, while "Walk Away" recalls the clever wordplay and loopy melodies of XTC. Elsewhere, the group refines its melding of frenetic Duran Duran-approved dance rhythms and Duane Eddy-by-way-of-Adam Ant twang guitar, delivering a bracing and high-energy platter of stylish and danceable rock.

Rolling Stone (No. 985, p.75) - 3.5 out of 5 stars - "...YOU COULD HAVE IT SO MUCH BETTER shows deeper roots in the first wave of white electric dance music: specifically the crunchy-guitar R&B and arch-garage songwriting of 1965-67 Kinks...."

Spin (p.65) - Ranked #3 in Spin's "40 Best Albums Of 2005" - "Their second disc builds on the kraut-disco of their debut, but frontman Alex Kapranos' dubious sensitivity makes YOU COULD HAVE IT so much better than its predecessor."

Spin (p.132) - "Kapronos' voice is a marvelous wide-eyed sneer....[The album] sounds exactly like what you'd expect, with pumping disco beats and lookin'-sharp guitars on track after propulsive track." - Grade: B+

Entertainment Weekly (No. 844, p.147) - "...[S]hows Franz Ferdinand working harder and sounding bigger, befitting their stature as rock's saviors of the moment...." - Grade B+

Vibe (p.210) - "[It] overflows with danceable beats and catchy hooks."

Mojo (Publisher) (p.58) - Ranked #11 in Mojo's "The 50 Best Albums Of 2005" - "An imperious state-of-the-nation address delivered with ease."

Mojo (Publisher) (p.94) - 4 stars out of 5 - "Musically, the palette has grown without getting out of hand. Lead guitarist Nick McCarthy appears to have an inexhaustible well of singable guitar riffs: pungent, perfunctory, and hardly ever pretty..."