After the release of their critically acclaimed 2022 studio album, “Ants From Up There,” English rock band Black Country, New Road (BCNR) was faced with a challenge. Their lead singer and guitarist, Isaac Wood, was leaving the band citing mental health challenges. The remaining six members refused to play any of Woods’ material in the future out of respect for him. Singing duties were now split between violinist Georgia Ellery, pianist May Kershaw and bassist Tyler Hyde. Over the next three years, the newly revamped BCNR wrote all new songs, performing them live and crafting a new sound for their next studio album, “Forever Howlong,” which was released on April 4.
The opening track and lead single, “Besties,” is a perfect introduction to the new direction Black Country, New Road is headed on the album. The song starts with a brief harpsichord jingle that jumps right into the layered and grand sound fans are used to hearing. At first listen, I was surprised by the upbeat and lively instrumentation, a departure from their previous records’ melodramatic sound and tone. However, the lyrics tell a different story, describing an unrequited love for a close friend. “Besties” is the farthest BCNR strays into the realm of pop and I thoroughly enjoyed it.
Following “Besties” is “The Big Spin,” written and performed by pianist May Kershaw. It is the shortest song on the album, but Kershaw’s clever writing and euphonious voice make it memorable. Saxophonist Lewis Evans expertly complements the soft keys throughout the track, giving the song a burst of life from the second you hit play.
Third on the tracklist, “Socks,” is the first sung by bassist Tyler Hyde, who lends her voice to five of the 11 songs featured on the album. Hyde’s unique singing style drew me in immediately. Her up-and-down vocal intonations and wide range made this track all the more enjoyable. “Socks” is a great example of BCNR using the instrumentation as a narrative tool. Between the chorus and the second verse, we hear a progression that has almost every instrument except for the electric guitar. After the line “Maybe I speak in a way that makes it seem like I was born yesterday, but I’m not afraid at all,” the electric guitar comes roaring in over the same progression we just heard. This helped make the line a moment of defiance — the narrator is no longer afraid and that gives her power. I also really liked the bridge and how all of Hyde’s sentences flow into each other. It feels as if she’s trying to say so many things at once and then now she’s obliged to sing it: “And now here comes the chorus.”
One problem I have with “Forever Howlong” is the length of the tracks. There were plenty of moments on the album where I was left wishing the song was longer. Black Country, New Road is known for their long and slow-building songs. On this album, the tracks lead up to a grand moment that ends too quickly. I wish they had expanded on some of the ideas that were explored throughout the album.
Another song on the album, “Salem Sisters,” is a jubilant tune that quickly takes a grim turn when the narrator is set ablaze. This song includes my favorite chorus because all three lyricists are able to harmonize extremely well. While “Salem Sisters” marks an honorable mention in the collection, it was immediately topped by “Two Horses” the second I heard it. A song about betrayal soaked in the sounds of Ellery’s mandolin and Lewis Evan’s saxophone, the fast plucking of the mandolin makes it feel like you’re also on a horse, stampeding across the desert plains. I enjoy the storytelling throughout the song which is complemented by the variety of string instruments. Other than the mandolin, string instruments featured include: a banjo, acoustic guitar and an electric bass played with a bow. The linear and focused storytelling of the song reminded me of older BCNR songs, but the softer, folkier sound is unlike anything previous. “Two Horses” is a highlight for me and a great introduction to the new BCNR.
“Mary” is a fine song. It’s the only song that features all three women singing in tandem, which is a great idea for a band with three extremely talented singers. The writing and lyrics are very on the nose compared to others. “Mary” details a young girl and her troubles with bullies at school. The song has a simpler structure and very on-the-nose lyrics. I wish the story of the song were more detailed. It felt very surface level and I was left asking more questions about the story and the characters than I had answers. Earlier songs dipped into folk territory, but we see the full realization of those influences here. All in all, “Mary” is a perfect midpoint for the album.
The second single, “Happy Birthday,” is a grand amalgamation of loud and dense moments that defined their last two albums, as well as the progressive song structures featured across “Forever Howlong.” Two verses are focused on teaching children the privilege they have, when the song sings, “Many people would give an arm and a leg to live where you live.” Versus there is a chorus that switches to the second person, speaking directly to the child who was born in less fortunate conditions: “It’s not your fault we don’t blame you, we blame the world you were born into.” Adding another layer to the song, not just being about how the child should be grateful for what they have but a message to children around the world. All leading up to a roaring outro. “Happy Birthday” is Hyde at her best, both with the microphone and the pen.
“For the cold country” is a tale of a knight wanting to give up fighting. It serves as a metaphor for being a more vulnerable person and growing from your past self. Lines like: “Take my shield and blade off of me, melt the silver down, I’ll make you a crown” reinforce those themes. I thoroughly enjoyed this song, and one part that stood out to me was how the style and sound shifted when the knight chose to change their ways. After the line “Kite strings burn my palms,” the song switches from mono to stereo and the recording sounds much louder and clearer. This switch to a cleaner sound makes the final moments of this song all the more enchanting.
The title track, “Forever Howlong” is probably one of my favorite songs ever made. Going into listening to this album I was aware that many different instruments would be used, but I never would’ve guessed they would implement recorders and an accordion. Its narrative is an existential look at a day in Kershaw’s life. Through combining some pretty sad and grotesque moments and absurdity, “I make eye contact with the dog, We both look away.” I also really enjoyed the small details that fit into the song, like the eight seconds of silence after the line: “The hesitating silence,” and the playing of the piano after “I move my fingers on the piano keys.”
“Goodbye (Don’t tell me)” is the closing track of the album. It’s a great way to cap off the journey listeners have spent the last 50 minutes on. The song has a sense of finality, with the narrator finding someone to spend their time with. A solid song all around.
“Forever Howlong” is a new rebirth for Black Country, New Road. Very few bands out there could last through the drastic changes BCNR went through and come out making something as cohesive, refreshing and enjoyable as this album. I can’t wait to hear all of the new stories they have to tell. If you’ve never listened to Black Country, New Road, “Forever Howlong” Is the perfect place to start, whether you are a longtime fan or a first-time listener; there is something for everyone to enjoy.
“Forever Howlong:” ★★★★★
