How 'The Foals' and Damon Che managed to kill math-rock...(Almost).

I remember them. 2004? Supporting Oxes and Part Chimp at the Windmill in Brixton. The technically excellent Edmund Fitzgerald (Jack Bevan, Lina Simon and Yannis Philippakis), bright young things of the UK math-rock scene. I remember Yannis's complete disregard for mosh pit etiquette, doing that thing people who understand such things cannot stand - thrusting your elbows out in an attempt to crack ribs and chin those trying to have a good time. I remember you Yannis, during a show at Bardens Boudoir with the re-formed (and totally disappointing) Don Caballero when, like some sycophant hanger on you got backstage to hang out with the band. Oh the heady days of hanging with the 'stars,' of playing and forming bands, of seeking the 'new sound.' With obscure influences, 'The band’s musical influences are varied, with the band members citing minimal techno, Arthur Russell, the Irish based math rock band The Redneck Manifesto, Krautrock bands such as Harmonia, and Talking Heads as well For London (previously known as The Jester People) as their main sources of inspiration. Their musical style, however, can be more directly linked to various genres such as math rock, indie Rock or New rave,' and Dave Sitek recording them in New York it seems the blending of private school education, parental support and a little talent has given the Foals success with an ultra cleaned out, commercial sound that is merely modern, high-in-the-mix vocal driven pop with afro-beat rhythms. In fact they now sound like a really bad version of 'Saturday Night' era Bee-Gees. Che had meanwhile destroyed all credibility for his reformed band - this was not Don Caballero, with layers of unpredictable guitar sound, brilliant syncopation and incredible tension and unrivaled complexity of structure all worked around Che's brilliant, tribal, Ginger Baker complexity meets John Bonham loudness drumming. This was Don Caballero, playing what sounded like covers of their old (good) material with new songs just derivative hard rock. Deeply disappointing and an obvious cash-in rather than an attempt to push the good name of the band in new, interesting and creative directions. The Slint reformation and cash-in had similar overtones, however Slint was essentially all original members, and as they never played any post Spiderland shows in the first place they were certainly entitled so some amount of cashing in on the album that effectively began the genre of not just 'post-rock' but also 'math-rock' - a fact that most so-called math-rock bands would do well to examine. Both terms refer to taking rock music and doing interesting things with the genre - going beyond 4/4 beats and loud guitars. My issue is not with selling out per se, it is with the soulless denigration of a useful categorisation into meaningless, and frankly poor, pop music. As Kurt Cobain would have said "Where are the songs?"
Oxes resolutely did not sell out - one of their number moved to Italy - they still get together occasionally and sound just as good as they always did. Part Chimp have adapted to the UK scene, playing sporadically and releasing possibly the best UK LP and 7" of the past five years in Thiller and You Decide respectively. Yannis would next be seen snorting coke onstage at an ATP performance in the UK. What a guy. They did say that they wanted to have more "fun making their music". With young fans following his every move, with Foals covered in NME, winning awards and sound-tracking episodes of Skins this guy is just appalling. He was an asshole in 2004. He's still an asshole now. And what is the significance of the name Foals. Isn't that just the name for a baby horse. Why the fuck should I care about what a baby horse is called? 
'The Thick of IT - Malcolm: "A pony isn't a baby horse. It's a foal. A fucking foal is a baby horse."'