The day was April 24, 2024. I was on the balcony of the Brooklyn Paramount, looking out on a crowd of over twenty five hundred fans all here to see the self-proclaimed “pinnacle of British engineering.” If I wasn't so familiar with the band, I probably wouldn't even be able to tell that Black Country, New Road had overcome a variety of problems to get to this very moment.

When they were known as Nervous Conditions, the band split after their lead vocalist was accused of sexual assault in 2018. Reforming without him that same year under their current name, the band quickly became a success in the London underground music scene, playing live shows and releasing singles. They were all geared up to record and release their debut when the pandemic shut them down, pushing For The First Time’s release to 2021. It received highly positive reviews from critics and was nominated for the Mercury Prize, but their luck sadly failed to change. Just a few days before the release of their second record, Ants From Up There, frontman and lead vocalist Isaac Wood announced his departure from the band. In a statement, he explained that although his fellow members were the greatest people he knew, his role in the band had taken an immense toll on his mental health and he could no longer be a part of it anymore. For what it’s worth, Ants turned out to be arguably the most acclaimed album of this decade so far, and it is certainly one of my personal favorites.

If you’re counting, that's three significant obstacles that the band has overcome to reach their current point. Yet, as impactful as the other two were, the departure of Wood was the one that appeared to derail the band more significantly. Some even thought they could call it quits. After all, they had already promised to no longer play any songs written and sung by Wood. But if they weren’t going to play any of the songs they had released since their formation, what on earth could they play at their required festival appearances and promised tour later that year? The answer was nine brand-new songs, eventually recorded for release in March 2023 as Live at Bush Hall. Without Wood, the band delegated vocalist duty across 3 members, and together crafted a setlist that was designed to be experienced live. It is an exceptional foray into a band that still feels like itself, just with a different tone. But shortly after its release, their shows began to be filled with new songs, tested with hope that they could be included on the next record.

After an extended teaser period, the band released the first single from their third studio album Forever Howlong on January 30th. “Besties”, which is also the first track, is an excellent teaser for what's to come with the record. Its immediate, forward thinking is a stark contrast with the often long and drawn out songs from their first two albums. The song’s lyrics cover new ground too, with violinist Georgia Ellery playing a narrator infatuated with her best friend, yet too afraid to admit her feelings lest it ruin their friendship. The song’s baroque-inspired instrumental undercuts the emotional weight of the dichotomy present, and its hints of darkness make “Besties” an excellent choice for a lead single. 

If “Besties” is Black Country, New Road’s gateway to a dark, bottomless pit, then the album’s second track “The Big Spin” has them dive right in. It's aggressive, melodically balanced, and chaotic in a way that never feels forced. Those themes connect well with the lyrics, which relate a trip around the sun to a deeply personal event in piano player May Kershaw’s life, causing her to reflect on the natural world around her. The album as a whole feels like a coming-of-age of sorts, with various songs’ instrumentals seeming to build up to some sort of transition, perhaps from the carefree nature of youth to the dramatic and restricted flow of adulthood. 

This theme also runs through the third song, “Socks”, which grows from a soft track to a far more intense one with fleeting moments of joy. Bassist Tyler Hyde portrays a slow demise of a relationship, with dynamic moments that give the song a sense of tranquility followed by more intense beats. It couldn't be more different from the fourth song, “Salem Sisters”, which likens the experience of having social anxiety at a large gathering with the feeling of being burnt at the stake. All throughout, Hyde is supported by booming drums, an emphatic saxophone, and background vocals from the other two vocalists. It is a brilliant showcase of the band’s balanced approach to songwriting, making it one of my personal favorites of the album.

However, the most distinct song on the album is “Two Horses”, an almost folk-y, story-driven composition that unfolds into a stressful, anxious rush. Ellery’s character comes into contact with a mysterious cowboy, hoping he could be the one she wants. But as we continue to hear their story, we learn that this man is not who he says he is. The anxious energy builds to an emotional peak, with layers of tension built by the overlapping instruments, and ends in a sudden and somber note. It’s another dynamic and impactful moment on a consistently rewarding record.

Admittedly, not every song stands out. “Mary” describes the bullying a girl receives while at school, but its sparser instrumental does a disservice to the rest of the band. But even the weaker songs have aspects that shine, as this track’s layered vocals from Ellery, Hyde, and Kershaw allow the words to cut deeper. As the girl fails to properly stand up for herself and chooses not to speak to anyone about the issues she faces, the unique storytelling this band possesses in both lyricism and vocals truly gets to shine. 

With that being said, no song quite encapsulates the bold creative choices that define Black Country, New Road quite like “For the Cold Country”. A six-minute, progressively building song, the album’s eighth track is presented from the perspective of a medieval knight reflecting on all they have done. The song contains a distinct shift halfway through, with the song going from a calm and unassuming to vibrant and dramatic. It highlights Kershaw’s powerful vocals, as her voice is perfectly balanced against the thumping and intense instrumental, with every band member playing as if their life depends on it. It is probably my favorite song on the album, with the booming outro being the single best minute of the entire experience. It is as if someone painted a beautiful scene in front of all of their friends, but immediately after completing it, set the piece on fire and ripped it to shreds. It is a great tune that still holds up all these months after release.

Forever Howlong is an emotional journey that often reaches into the depths of your soul. It is thus oddly fitting that the final track, “Goodbye (Don’t Tell Me)”, brings us back to romance. If “Besties” was driven by a lack of response from the narrator’s lover, then “Goodbye (Don’t Tell Me)” is driven by the narrator’s newfound self-love. The band specifically wanted to end off the album on a positive note, and there is no feeling more satisfying than finally realizing the most important love you can show is to yourself. The pain you experience is temporary, but the ways you choose to appreciate your own actions and emotions last forever.

As a whole, Forever Howlong is genuinely excellent. It oozes with creative passion in a way that most bands struggle to do with an established sound, so the fact that this album managed to be this consistently innovative given the number of setbacks the band faced leading up to its release is extraordinary. While perhaps nothing the band could create was going to live up to Ants in the slightest, this follow-up is truly rewarding and makes the experience of following this band through their ups and downs more than worth it. Whether you are a long-time fan like me or just learning of Black Country, New Road for the first time, I would absolutely recommend this wonderful next step in the career of one of this decade’s best bands.

9/10