Review

In the wake of Isaac Wood's departure in 2022, many wondered whether Black Country, New Road could possibly maintain the fevered cult following they'd cultivated across their first two albums. "Forever Howlong," their third full-length offering, doesn't just answer that question—it renders it utterly irrelevant through a stunning reinvention that feels both radical and entirely natural. The seven-piece collective has evolved into something approaching a democratic commune, with vocal duties now shared primarily between Tyler Hyde, Lewis Evans, and May Kershaw. This distribution of the spotlight allows each member's individual strengths to shine while creating a more textured emotional palette than even their previous work achieved. Opening track "Carousel Horses" establishes the album's modus operandi immediately—a delicate piano figure from Kershaw giving way to Evans' saxophone and a gradual build that feels less like post-rock crescendo-chasing and more like a conversation between equals reaching a natural climax. There's a newfound patience here, a willingness to let ideas breathe that speaks to a band comfortable in their collective skin. Lyrically, the album trades Wood's hyper-specific neuroses for something more universally accessible yet no less affecting. Hyde's vocals on "Petrichor" deliver a meditation on memory and place with striking clarity: the imagery precise but the emotional resonance broad enough to invite listeners to project their own experiences. The band's instrumental prowess remains undeniable. Georgia Ellery's violin work throughout provides both texture and melody, while Charlie Wayne's drumming demonstrates remarkable restraint and musicality. The interplay between instruments feels increasingly intuitive, suggesting countless hours spent developing this new incarnation of the band in rehearsal rooms rather than on stage. "Forever Howlong" isn't without moments of the unhinged intensity that defined their earlier work. "Wreckage Room" builds to a cathartic explosion that rivals anything in their catalogue, with Evans' saxophone work veering into free jazz territory while the rhythm section holds the chaos in perfect tension. But these moments now serve the songs rather than defining them. Throughout the album's ten tracks, there's a sense of a band simultaneously expanding their sonic palette while refining their approach. The folk influences that were always simmering beneath the surface have been brought more prominently into focus, particularly on the gorgeous "Lantern Hill," which calls to mind the pastoral psychedelia of early Fairport Convention filtered through a distinctly modern sensibility. Producer John Parish (PJ Harvey, Aldous Harding) proves an inspired choice, his light-touch approach creating space for the band's compositions to breathe while adding subtle atmospheric flourishes. The sound is warm and immersive without sacrificing clarity—you can almost feel the air moving in the room during the album's quieter moments. What's perhaps most impressive about "Forever Howlong" is how it manages to feel both adventurous and accessible. This is challenging music that doesn't wear its complexity as a badge of honour, offering multiple points of entry for listeners willing to engage with it on its own terms. In an era where many bands seem content to find a formula and stick to it, Black Country, New Road continue to push themselves into uncharted territory. "Forever Howlong" isn't just a successful transition from one phase to another—it's a thrilling reinvention that suggests this collective's most exciting work may still lie ahead of them.