In these past 18 months a lot has occurred and a lot has changed. But for the Cambridge-hailing, 7-piece post-rock act, Black Country, New Road, they’ve clearly fared best in this storm.
First witnessing their force back in April 2019, BCNR challenged my pre-conceptions of an act starting out. Wielding their illustrious songwriting with surprising temerity, hooked with performative prowess, and revelling in a mature concoction of post-rock, spoken word, and jazz. Tied to the flourishing experimental scene in the U.K as of late, could this debut LP prove to be a watershed moment for an act barely into their tenure?
Our journey into BCNR’s abyss begins with steady percussive couplets and light drum rolls in the opener ‘Instrumental’, allowing one instrument at a time to join the foray as the track’s momentum whirs away to its destination. A frenzy of rhythms, hoisted by incessant syncopations and spurring sax solos represent somewhat of an edgy, experimental James Bond theme more than anything, perhaps with Idris Elba playing the role of Bond himself.
Beautifully curtailing this frenzied foray, BCNR glides us through myriad fluttering strings and synths on the outset of ‘Athens, France’ vis-a-vis its straightforward rhythms and riffs. As if the 7-piece are presenting the very best of the U.K.’s post-rock scene, from Black Midi and Squid to Idles and Drahla, the act effortlessly piece this intricate puzzle together under the guise of such technically-gifted musicians and poetically puzzling lyrics from frontman Isaac Wood. “Why don't you sing with an english accent? Well, I guess it's too late to change it now / In the rural American town fairground / I go round and I go round”, cries Wood at the prolonged obsession of smalltown America etched into the storyline of this odyssean journey.
"I am the Fonz, I am the Jack of Hearts."
Where ‘Athens, France’ proves a sumptuous affair, ‘Science Fair’ initiates a thornier experience as we careen away from the idyllic smalltown and into the ominous setting of a Cambridge Science Fair. Wood toils over his retelling of romantic pinings at this Science Fair, protruding anxiousness and overwhelming doubts, culminating with an unfathomable surge of nerve-wracking euphoria in its explosive outro. ‘Sunglasses’ feasts upon a similar trajectory as Wood once again initiates his signature storytelling. Whilst the unique choice of lyricism seemed quizzical before, the mastery of their psychotically brimming confidence seethes through with cruising ease, “I am invincible in these sunglasses / I am the Fonz, I am the Jack of Hearts / I am looking at you and you cannot tell / I am more than the sum of my parts.”
Emerging from this maddened, ominous abyss, the LP’s hindrances and cracks begin to reveal themselves. Along with the re-workings and recordings from their previous, original versions, tracks such as ‘Sunglasses’ seem to pack less of a fortified punch at its outro gripped by Wood’s nerve-wracking attempt at half-hearted singing. This lack of conviction stumbles into ‘Track X’ which, albeit a welcomed respite relieving us, seems oddly out of place on this record, littered with a sprightly chorus encased in softened “ooh”s and “aah”s in its underwhelming masquerade.
Whilst this particular divergence and digression may seem ill-fitting, the sheer scale and pertinence of BCNR’s influences loom large and forthright - from the light distortional tones of The Doors, Can and Kraftwerk, to the darkened tonalities of Swans, and the comically self-referential claim as “the world’s second best Slint tribute act.” This conglomeration of sounds and influences ultimately traverse into some enticing tropes at the conclusion of this record, ‘Opus’. With various saxophone partners mingling together amidst another frenzied tempo, the traditional Jewish celebratory song of ‘Hava Nagila’ indelibly comes to mind - an apt measure for this act’s vast invitation of exploratory sounds.
To-ing and fro-ing for prolonged bouts, BCNR eventually transcend us into calmer, brooding waters of Wood’s, before their final siege in an exhaustion and outpouring of emotions. The ominous expression initiated by Wood, “Everybody’s coming up, I guess I’m a little late to the party”, surges a theatrically sacrificial conclusion swelled by vocal wailings, saxophones whirring, guitars churning and a seeming cry of approval from Swans and Michael Gira.
After everything that’s been built and torn down within these 40 minutes, what’s left? A masterfully crafted debut LP from this 7-piece barely reaching their 2-year mark. Worthy acclaim should be handed to this set of musicians for their astute technicalities, instrumental prowess and outlandish experimentalism, tying neatly together for this coherent piece of art. Whilst some of the production choices and re-workings of older tracks go awry, the litany of expressive spoken word and omnipresent strings and saxophones elevates this record to another ether of experimentation. As we witness a band revelling in their first 18 months, For the First Time could mark itself as a watershed moment for the burgeoning experimental scene in the UK - not only a product for those who've paved the way but also one that may inspire others to do just this.
9/10
Black Country, New Road's debut LP, For the First Time, is out now and can be found below.
Tickets for their upcoming UK tour can be found here.