First of all, why do I even care? I care because over the past three years I have come to view Ants From Up There as something of a modern-day classic. Normally, it takes a little longer for that word to sink in and take shape, and yet every time I put this album on, it just keeps astounding me with its melodic intensity and Isaac Wood's mystique. Ants From Up There is nervy, rich and expansive. It is like Funeral for the 2020s.
The live album of all new material in 2023 proved that there was, indeed, life after Isaac Wood, and I even went to see them during the European tour later that year. In a rather small club in Warsaw (certainly smaller than their current stock would suggest), they were both charming and brilliant. They refused to play anything from the first two albums, which I thought was commendable, but they did perform a few songs from their much anticipated third studio album. The new material sounded great, and I still can't forget the emotional outburst of a Polish guy standing next to me: "Your new album is going to be fire!"
And now, a year and a half later, the new album is here. It is titled Forever Howlong, and you either hate it or love it to death.
Another incentive for this review was a snide dismissal of the album I have recently come across on the Internet. Two words, in fact, that were supposed to encapsulate everything that is wrong with Forever Howlong. 'Whimsical and convoluted'. Because, oddly, I concur. It is both incisive and absolutely true. The problem is - I still think this is a great album and the second best thing they have ever done.
As it is customary with Black Country, New Road, the album requires multiple listens. Which I guess is a very generic thing to say but this, in fact, is where the 'convoluted' bit comes into play. Because the melodies are certainly there. Rather conventional showtime styled tunes crop up in songs like "Salem Sisters" and "The Big Spin" but it is as if they are genuinely frightened of being too accessible, too on the nose, and thus they keep twisting and bending those melodies and overriding them with new ones. Which is not necessarily a bad thing, because these guys know their way around a good vocal hookline. As a matter of fact, I was singing the somewhat throwawayish "The Big Spin" to myself earlier today. Not the full thing, mind you, but a few of those unforgettable snippets.
Alternatively, Forever Howlong can be described as progressive folk for people suffering from attention deficiency. It is fragmented and, indeed, convoluted. It is filled with the sounds of a recorder and features lyrics about apple pies and gut microbiomes. That is to say, it is very whimsical. At first, I could even understand the disappointment, it is just that the intriguing songcraft and excellent musicianship always made me come back for me.
With that said, even after five or six listens I still do not get the title song. To my ears, it features no melody whatsoever at all and is basically just five endless minutes of cutesy cuteness (chop it off, and you get a perfectly serviceable single album). Also, I do miss the voice of the saxophone guy who, as it transpires, was originally supposed to sing "Salem Sisters". I have nothing against the three ladies who perform on Forever Howlong, but the vocal diversity of Live At Bush Hall was a great touch. Finally, there is a sense that the production is a little overwrought and deprives these songs of a certain air that made them so appealing in the live setting.
But those complaints are, in fact, minor quibbles, because Forever Howlong just gets better with every listen. The details keep piling on, and I am not only talking about the four six-minute epics which dominate this album (one of them is, of course, titled "Socks" - clearly they are not above painting a big target on their backs (just look at that cover)). Shorter songs like "Goodbye (Don't Tell Me)" and "Happy Birthday" are all intricately played and intricately composed. Even the ballad "Mary" which may at first appear somewhat uneventful features a complex melody that you might just start singing along to. Out of the epics, my favourite is probably the gorgeous and protean "Two Horses" that masterfully transitions from sweet lyricism to the beautiful and ever-intensifying galloping rhythm (the one that comes after the majestic 'night and day' vocal hook).
Do they always deliver? Is the pay off always worth it? Is there orgasm after foreplay and endless teasing? Having lived with this album for almost a week now, I would say yes. Ants From Up There was a more cohesive and concerted statement and thus hit me harder, but the sheer amount of ideas they managed to cram into this album is still very impressive. Forever Howlong is flawed. It is, yes, whimsical and convoluted. But what a special and supremely talented band they are. I can't wait to see what they do next.
