Three years after their last studio release, Black Country, New Road return with Forever Howlong, an album that has quite literally been built from the ground up. After taking new material on the road over the past few years, most notably at the Bush Hall gigs, the material emerging from the BC,NR camp has refused to solidify. Ever-changing and evolving, none of the Bush Hall tracks made it to the new studio release.
The opening track, “Besties”, the first of three singles released in the lead up to the record, makes a statement about the creative direction for this record. There are some very obvious changes: for one, Georgia Ellery takes lead vocals, her first recorded release under the BC,NR moniker. The departure of lead vocalist Isaac Wood, a point of much contention for fans sceptical over how the band were to follow up their sophomore record Ants From Up There, doesn’t seem to be holding the band down- in fact, Besties is light and airy, a track that isn’t afraid to suck it up and go again. Instrumentally, it is still the same BC,NR fans have grown to love: textured, dextrous, and unaware of any restraints – it opens with a blunt, droning harpsichord.
Most tracks on this album begin with a grand and triumphant sound before breaking down into their components. Throughout these sections, the vocals intertwine with the piano, which predominates the record. Track two, “The Big Spin,” is the shortest song released by BC,NR to date. Its constant shifts between fast and slow tempos represent a significant departure from the band’s typical style, where songs often exceed six minutes. Like all the tracks, it features the signature horn sound that has become a trademark of the group, drifting in and out behind the vocals at a leisurely pace.
Track three, ”Socks,” reverses the trend set by the first two and starts with just Hyde and the piano before building into a crescendo of instrumentation. Hyde goes operatic in places on Salem Sisters – channelling a Kate Bush style vocal performance whilst the rest of the band play around her, a song once again structured around the piano.
The frequent reliance on the Hyde-piano dynamic, most notably in tracks like “Two Horses,” occasionally creates a sense of stripped-down simplicity, almost akin to a demo release, which contrasts sharply with the album’s otherwise richly textured instrumental sections. This tendency, however, is largely contextualised by the sheer grandeur of the album’s more energetic peaks, which elevate the overall listening experience. Even within “Two Horses,” this contrast is evident; the track’s midpoint introduces a pulsating bassline that dramatically transforms its trajectory, propelling it into a frenetic, accelerating climax. This dizzying ascent is then abruptly curtailed, creating a stark transition to “Mary,” which features a deliberate, slower, country-esque guitar twang, highlighting the album’s dynamic range and deliberate shifts in mood.
The true strength of ‘Forever Howlong’ lies in Black Country, New Road’s collaborative energy. “Happy Birthday” and “Nancy Tries To Take The Night” exemplify this, possibly the album’s finest moments. “Nancy” stands out, beginning with a lengthy guitar solo before transforming into their characteristic dynamic soundscape. Hyde’s vocals achieve a new intensity, matching the whirling horns, highlighting the band’s seamless interaction and creative unity.
Ultimately, Black Country, New Road proves their shapeshifting expertise. ‘Forever Howlong’ is less a reinvention and more a joyful recontextualisation, a testament to their resilience after turbulent times. They’ve embraced change, delivering a refreshing sound that’s unmistakably BC,NR, proving their ability to navigate stylistic shifts with confidence and artistry.
