Myles’ Take
After I listened to Black Country, New Road’s debut record For the First Time nearly one year ago, I wrote for this site: “I already can’t wait to hear something new from the band and see where they go next.” In my wildest dreams, I could never have imagined that where they would go was to Ants from Up There.
Wow. What an incredible sophomore record. It is rare for me to consider an album an “instant classic”, as many music critics have been all too eager to do in the recent past, but if I had to pick one record in recent memory that would deserve that title it is surely this one. Much like their debut, Ants from Up There features surprises and twists at every turn of its 10-track, 60-minute runtime. But other than that, there is much more different between these two albums than there are similarities. The band’s sound has certainly evolved and broadened, adhering to some indie rock conventions while also allowing their signature style of composition to express itself fully. It’s a more conventionally appealing album for sure, but little, if anything, has been sacrificed here for the sake of this appeal. This is by no means a “sell-out album”, much the opposite. In many respects, BCNR has doubled down on much of what made their debut so one-of-a-kind. The vocals of frontman Isaac Wood are still off-kilter and distinctive as ever, a mix of spoken-word style crooners like David Byrne and Will Toledo and Britpop belters like Jarvis Cocker and Thom Yorke. The lyricism remains as stream-of-consciousness and references as much pop culture as ever on songs like “The Place Where He Inserted the Blade” and “Good Will Hunting,” both featuring nods to “Bound 2” and “Billie Eilish style” respectively. But the lyrics on this album cohere into much more noticeable running themes throughout the record, with allusions to a Concorde jet in various songs on the tracklist becoming a through-line and thematic anchor point for the entire listening experience.
What was so surprising for me on this record is how much all of the other band members stood out compared to the debut, where Isaac was in many ways the leader of the pack for every track, the driving force which propelled the band members through each section of the album. And though that worked well in the context of that album, on this one we have much more interesting peaks and valleys (not of quality, mind) in which other band members get to shine. Notable examples include “Snow Globes,” where drummer Charlie Wayne goes absolutely nuts in a performance that stands out significantly from the rest of the band, “Mark’s Theme,” which largely features Lewis Evans’ saxophone compositions as a tribute to his late uncle, and “Haldern,” which features an incredibly intimate performance from Georgia Ellery on violin and cello, every subtle squeak of her bow along the strings of her instruments punching through the mix with raw clarity. The album also features exceptional work on the keys from May Kershaw on songs such as “Chaos Space Marine,” as well as raucously entertaining background vocals from multiple members on “The Place Where He Inserted the Blade,” which has a distinctive musical theater feel to its finale and build.
Speaking of the build, this is certainly the album when the band has mastered their use of dynamics. Highs and lows in volume were certainly present on their debut, and a large part of what made it so satisfying, but tracks like “Concorde,” “Snow Globes” and “Basketball Shoes” are clear examples of the band taking their iconic build-ups to the next level. Every track is incredibly gratifying and a unique listening experience all their own.
For these reasons and many more which I cannot state for the purpose of keeping this review somewhat brief, I have to say how thankful I am for this band’s existence in the plainest terms. This album really contains it all: hope, fear, anger, uncertainty, longing, and joy. It is a singular musical experience and a genre-defining release. Yet it comes at quite a bittersweet time, as band member Isaac Wood announced his departure just four days before its release date, citing struggles with mental health. I intensely admire his courage to take this step immediately before such an important album in his band’s career, and I have equal admiration for his bandmates for venturing to continue their journey together in his absence. With just two albums under their belt, Black Country, New Road have proven themselves to be one of the most important rock bands of this generation. I closed my previous review anxiously wondering where they would go next after their debut. After hearing this album, I can only hope that they keep going. We will be all the luckier for it as long as they do.
Favorite tracks: All of them. Could never hope to pick favorites.
Overall Score: 10/10