Forever Howlong is the fourth album from the UK genre-bending collective, Black Country, New Road. However, this is only their second release without their former lead singer and guitarist, Isaac Wood. If you want to know more about the history of BCNR and why Isaac’s departure was so impactful, I recommend reading “‘Besties’ and Beyond: How Black Country, New Road Continues to Evolve” before getting into my review.
In a catalog with such critical acclaim, how does an album like Forever Howlong hold up? When I first listened to this album, I went in expecting something good, maybe on the same footing as For The First Time or Live at Bush Hall. But after giving it time to settle, I think it’s taken the place of my new favorite from them, even surpassing Ants From Up There (AFUT). Although I will admit that Forever Howlong doesn’t measure up to the incredible work of art that is AFUT in all aspects, I enjoy this album a lot more.
When I think about Forever Howlong and what I’m calling “The New BCNR,” I immediately focus on their new, more whimsical sound. A sound that perfectly highlights the band’s newfound form and function. First and foremost, I want to highlight their change in form. Initially, BCNR was a single-lead-vocalist act with Isaac as their lead, while the other members played a more supporting role with their incredible instrumentation and background vocals. After Isaac left, vocals were taken on by Lewis Hall, Tyler Hyde, and May Kershaw for their live album Live at Bush Hall, which was made specifically for the already planned tour. Finally, on their newest album, Lewis stepped down from vocals and gave Georgia Ellery, the lead vocalist of the experimental pop duo Jockstrap (I highly recommend checking them out if you enjoy this album) and the violinist for BCNR, an opportunity. Rather than focusing on a singular voice or narrative, each song feels like a unique but cohesive story, shaped by the varying composition of vocalists and instruments. This collaborative model not only develops the sound but also expands the emotional range of the album. With this change in form comes a massive shift in function. In the Pitchfork interview “Black Country, New Road Head Into the Unknown,” written by Ian Cohen, members of the band explain that they are moving away from the “tears-in-your-beer” style they had with Isaac and instead focus more on their new form and female vocalists.
The song “Mary” might be my personal favorite on the album. This track, unlike anything you would expect from BCNR, takes the instrumentation out of the spotlight for the purpose of storytelling. Similar to “Mark’s Theme” from Ants From Up There, “Mary” is very stripped down and minimal yet packed with emotion. Written by Tyler, this track consists of snippets from her diary that detail her experience and struggle with school. One line from that really stands out is “She screams in the shower / Lost all of her power / Keep face, she’ll leave no trace / Not even in her home,” where she conveys her struggle to mask pain in a space that is meant to bring comfort. As an arrangement led by all three vocalists with backing guitar and light strings, this song fits in a very unique spot on the album.
In many ways, Forever Howlong marks the clearest line between the band Black Country, New Road was and the band they’re becoming. It’s not just a new chapter, it’s a completely new book, written by a new author but with the same characters. Gone are the days of explosive post-punk ballads and emotional breakdowns prevalent on Ants From Up There, and in their place comes a softer, more theatrical, and deeply collaborative sound. A sound that doesn’t try to recreate the past, yet instead builds something entirely new with the pieces left behind. They aren’t the same band without Isaac Wood, but no one should expect them to be. This is the new era of Black Country, New Road, Forever Howlong.
Photo Credits to Eddie Whelan
