Album Review: Forever Howlong - Black Country, New Road

Shortly after its release in 2022, Black Country, New Road’s sophomore album Ants From Up There was heralded by many critics and fans as an instant classic. Packed to the brim with complex instrumentation and deeply-compelling lyricism, the album helped the young band achieve heights that many bands simply dream of, and this was with only one release (For the first time) under their belts. Ants From Up There’s rollout perfectly complemented the bittersweet themes of success despite struggle throughout the project, as the group’s lead vocalist and co-founder Isaac Woods announced his departure just days before its release, citing his mental health. Ants From Up There, which I consider a masterpiece, exists as a time capsule of Black Country, New Road and who they were when Isaac was contributing both musically and spiritually to the outfit. While his identity is found deeply throughout every moment on Ants From Up There’s tracklist, the gorgeous backing instrumentation and talented musicians who supported him also helped lift the project to the level of ascendancy that it reached. There was just one problem with this success… the group no longer had its lead vocalist moving forward, and fans’ hopes and expectations for their future were sky high.

Luckily for them, though, those same talented instrumentalists also happen to serve as incredibly unique and gifted vocalists with their own perspectives, aesthetics, and performance choices. In 2023, the group released Live at Bush Hall — their first output since Isaac’s departure. This performance was not released as an official album, but instead as a collection of dynamic performances and tracks that showcased each band member’s individual skills and styles. While there were some growing pains found throughout this release, the cohesion and raw talent that put the band on the map in the first place was still very apparent, and there was hope that they could forge a new identity upon future releases.

That brings us to the subject matter of this review. On April 4th, 2025, Black Country, New Road released their third full-length studio album Forever Howlong. Over the course of this project’s rollout, the band released three ambitious singles: the opening and harpsichord-laden track “Besties,” the beautifully discordant “Happy Birthday,” and the long-awaited, until-then-unreleased fan favorite “For the Cold Country.” Each of these tracks features a different lead vocalist, with Georgia Ellery, Tyler Hyde, and May Kershaw takings the reins, respectively. All three women have a cohesive and somewhat similar sound, but their differing perspectives and artistic nuances add so much character throughout the album as a whole. While all of these singles are great and serve as reflective examples of what the album’s themes consist of, the album is best consumed from start to finish, because there is just so much you don’t want to miss.

The sometimes larger-than-life, grandiose, and progressive instrumentation and vocal performance found throughout Ants From Up There is turned up a notch on Forever Howlong. The group has no hesitations when deciding to ignore standard time signatures or experiment with typical song structures, instead opting to create songs that constantly develop, build tension, and defy norms. That allows moments like the whimsical opening of “The Big Spin,” the insane tempo change on “Two Horses,” or the signature peculiar lyricism of the title track to not only pay off, to build upon one another to create a cohesive experience.

Each song on this album is absolutely necessary, and while there are still some areas of opportunity for the group’s new identity to expand, many of the tracks here are among the group’s best, which is saying a lot when considering the absurdly high bar they have set for themselves. Haunting lines like “I make eye contact with the dawn / We both look away” and vignettes like those found on “Nancy Tries to Take the Night” are both career highlights for the band. Additionally, the project gains new depth and complexity upon each listen — sonically, lyrically, and thematically.

Ants From Up There is my favorite album of the decade so far. While I was cautiously hopeful that Black Country, New Road would be able to pivot and adjust post-Isaac, I never expected them to craft such a unique and impressive sound and identity so quickly. Isaac’s impact is still felt deeply on this album despite his absence, and I hope he is well. While they may not have been able to capture lightning in a bottle twice with this project, Black Country, New Road’s Forever Howlong is a joyous and jubilant clap of thunder signifying a rebirth of some of the world’s most talented musicians proving that they are here to stay. How long? Forever, I hope.

Favorite Tracks: “Besties,” “The Big Spin,” “Socks,” “Salem Sisters,” “Two Horses,” “Happy Birthday,” “For the Cold Country,” “Nancy Tries to Take the Night,” “Goodbye (Don’t Tell Me)”

SCORE: 9.3/10

Album Review: Ants From Up There - Black Country, New Road

A year to the day after the release of their critically-acclaimed debut album For the first time, English rock band Black Country, New Road has returned with their highly-anticipated sophomore follow-up Ants From Up There. Despite their overnight success and seemingly limitless potential, the group recently announced that lead vocalist and lyricist Isaac Wood is leaving the group indefinitely, citing mental health reasons for his departure. Wood’s unique vocal delivery, revealing and introspective lyricism, and unbelievable chemistry with the rest of the band leave fans wondering how the group will move forward. For now, however, they are encouraging their fans to enjoy and appreciate Ants From Up There — a project that is self-evidently the product of musical genius and unique circumstance. Ants From Up There is a feat; simultaneously wider in scope and scale than most rock music in recent memory, while delivering intimate themes and vocals throughout all of its impeccable tracks. Regardless of what the future holds for BC,NR, we are lucky to have been graced by the release of this incredible record.

Instrumentation and raw musical ability have been a high point of all of the group’s releases up until this point, and that doesn’t change on their newest project. The opener “Intro” sets the sonic tone and mood for the rest of the project, which is upbeat but urgent all the same. The sense of a push and pull between the good and the bad, the fragile and cemented, is a theme often revisited throughout the album. “Chaos Space Marine” follows, a high-tempo track that utilizes Wood’s unique writing style. The group has described this track as “A voyage… a sea shanty… a space trip,” which astutely captures the essence of this comparatively welcoming and accessible track. This easygoing tone is countered by the following “Concorde" which introduces the airplane metaphor that graces the album’s fantastic cover art. Wood likens the group’s success to a Concorde jet, limitless and more powerful than he could’ve ever imagined. The recent discovery of his departure adds more emotional weight to many lines in this song, such as: “But for less for a moment / We’d share the same sky / And then Isaac will suffer / Concorde will fly” which is heartbreakingly poignant. The following instrumental riff is triumphant and prideful, a sign that Wood knows leaving is what is best for both him and the group.

“Bread Song” was one of the singles for this album, and it aptly uses outlandish metaphors to drive home specific and unique themes - something this group is now known for. While on its surface this song seems to discuss eating toast, its substance is navigating intimate relationships in the digital age. Its instrumentation swells to a cathartic second half, and like many tracks on this album, its payoff justifies its extended runtime. “Good Will Hunting” is another fun track, and one I’m surprised the band didn’t use as a lead single for the album. Its chorus, which assembles tidbits from others’ conversations, is more of a pop outfit than their typical tracks, with Wood adopting more of a sung delivery than his signature spoken-word style. “Haldern”, named after one of the group’s shows at the Haldern Pop Festival, recreates what was an entirely improvised track. The keys, saxophone, and Wood’s vocals blend wonderfully together, culminating in a powerful instrumental second half.

“Mark’s Theme” pays tribute to the family member of one of the band’s members who died of COVID-19 in 2021, furthering the album’s sonic themes and adding gravity to an already heavy project. The final three songs on the album are what separate the great from the masterful, as the group flourishes more than ever before. “The Place Where He Inserted The Blade” discusses the intricate complexities of navigating a partner’s previous traumas. The pre-chorus of “ I know you’re scared / Well, I’m scared too / But every time I try to make lunch for anyone else, in my head / I end up dreaming of you” gets stuck in my head so easily that this is essentially all I’ve listened to since the album’s release. “Snow Globes” is another track that rewards patient listening and cathartic payoff, as the 9-minute long track slowly builds and crescendos with manic drums and vocals.

The album’s final track, “Basketball Shoes”, already has a bit of a reputation from fans who have listened to the group’s live performances of it. Nearly 13 minutes in length, this closing track is immediately in contention for 2022’s song of the year. All of the project’s previous themes appear again, acting as closure for this bittersweet project. Many lines from this song stick with me, but none more than: “We’re all working on ourselves / And we’re praying that the rest don’t mind how much we’ve changed / So if you see me looking strange with a fresh style / I’m still not feeling that great” which perfectly captures mental health struggles despite outward successes. Essentially a medley of the rest of the project, this is exactly what a closer is supposed to do - recap everything that has been said so far, while leaving the listener in awe and just wanting more. This journey of a track ends so strongly and triumphantly that despite Wood’s departure, I have no doubt that Black Country, New Road will continue to innovate, grow, and release more incredible music together in the future.

A famous phrase states that “All good things must come to an end.” While this isn’t necessarily “the end” for Black Country, New Road, it will forever be seen as an inflection point for the group with Isaac’s departure. Never before have I watched a band achieve and surpass its potential so quickly, as Black Country, New Road has seemingly released its magnum opus in just its second release. Sonically, this project is unmatched and unlike any music being released today. Lyrically, this project has mass appeal while being hyper-specific at times. I wish the best for Isaac Wood and the rest of the band moving forward, and I thank them for sharing such a perfect album with us all.

Favorite tracks: All

SCORE: 10/10