The The – ‘Ensoulment’ album review: a poetic odyssey for the modern age
THE SKINNY: Romantic. Sexy. Drunk. Melancholy. Tranquil. Fun. Joyous. All words that previously had nothing connecting them except that they were descriptive are now linked by the perplexing new album by the post-punk stalwarts The The, Ensoulment. It’s an album that keeps extensive lyricism at its heart but has a barrage of varying instrumentation underlying every song.
The reason why this album needs to be so word-heavy is because of the amount of subject matters it talks about. Everything happening today, from the big picture of artificial intelligence taking over the world to the small issue of a breaking heart, no stone is left unturned.
What stands out about this album is the same thing that lets it down. While the poetic lyricism is profoundly moving, having a 12-track record dedicated to elongated passages can wear relatively thin at times. The instrumentation isn’t the most varied. Some songs are more funk-infused, and a few are more stripped-back, but generally, they don’t sound too dissimilar. As a result, some songs blur into one another, and it can drag ever so slightly.
Generally speaking, though, this album is a real treat to listen to. For a band who have been pioneers of poppy experimentation since 1979, they continue to refuse to just turn out another number for the discography. The latest vibrant record poetically discusses different issues with gorgeous music. You could listen to it at face value or take the time to dissect it; regardless, it’s well worth a spin.
For fans of: Long sentences, like, really long sentences. Sentences with far too many words in. Why are all these words here? What do they want? Those kinds of sentences.
A concluding comment from the alphabet: “They’re using far too many letters this lot.”
Ensoulment track by track:
Release: September 6th | Label: Cineola / earMUSIC | Producer: Matt Johnson and Warne Livesey
‘Cognitive Dissident’: An off-kilter, strangely tempod instrumentation ushers us into the first song. A funky number, if funk music was haunting you, with the lyrics riding the well-established beat beautifully. The words are quizzical as the listener is confronted, saying everything you thought you knew was wrong, “Left is right”, and “Up is down” are offered as examples for this twisted little introduction. [3.5/5]
‘Some Days I Drink My Coffee By The Grave Of William Blake’: “The London I knew is gone, long gone,” is proclaimed over an anthemic, gospel-like number. The track is Cohen-esque in its haunting execution but deeply enticing. Running keys and subtle guitar solos all exist in a layer underneath the song, giving the whole track an amazing atmosphere. [4/5]
‘Zen & The Art Of Dating’: An ode to the art of overthinking. Drunken instrumentation lays the foundation for words that question whether a connection is genuine or whether there is better in the world’s dating pool. There is a lounge singer quality to the rhythm of this song; as lines are started and then chased, it makes the whole thing endearing and incredibly warm to listen to. [4/5]
‘Kissing The Ring Of POTUS’: A lot of the songs have a similar tone to them. It’s incredibly charming, but unless the song has something unique that stands out, it blends slightly into the background. That’s what happens with this song; there is nothing too exciting about the rhythm or instrumentation of the track, and it feels more like filler. [2.5/5]
‘Life After Life’: A charming yet unsettling chord structure allows for this number about death. The upbeat nature of the chorus is a complete contrast to the lyrics, as a joyous feel accompanies the sentiment of unlimited regrets that will follow us to our deathbed. It’s an interesting listen but incredibly intoxicating. [3.5/5]
‘I Want To Wake Up With You’: A song that sounds like a desperate plea. It is less of a proclamation of love and more the sound of somebody giving in to their infatuation. Quite stripped-back instrumentation only adds to the lyrics that come across as a strange combination of desperation and loving. [4/5]
‘Down By The Frozen River’: While the vocals on the entire album could well be considered some iteration of spoken word, this is the first track that leans fully into providing a narrative. As far as the music is concerned, not a lot is provided except for the angelic choir who sing in between paragraphs, but the words are enticing, sounding like the voiceover for a movie about a haunted house. [3/5]
‘Risin’ Above The Need’: A track that keeps the album’s tone consistent yet infuses elements of stripped-back soul. The subtle beat is laced with funk, and a faint wah pedal on the guitar gives the song that ‘80s kick. The chorus is one of the more joyous parts of the record, which is very much needed on an album that can sometimes be quite monotone. [4/5]
‘Linoleum Smooth To The Stockinged Foot’: While this track is one of the most brooding on the album, having instrumentation that’s only a faint bass sound and chaotic strings in the background, it has to be said that the overall elements of the song are too similar to the tracks prior to really be a standout. While the lyricism and rhythm of this record are enticing, they do become slightly repetitive. [2.5/5]
‘Where Do We Go When We Die?’: Almost like a blend of country and folk, very narrative-driven but incredibly sweet sounding and tranquil at the same time. The chorus is one of the most lovely on the album; while there’s nothing too complicated about it, the harmonies sound amazing, and the humble nature of the statement is hard to see as anything other than charming. [4/5]
‘I Hope You Remember (the things I can’t forget)’: Another very stripped-back song, but instead of the only instrumentation being brooding electronic sounds, there is slight percussion and plucking guitar. Again, it has a country-like feel to it, but it’s a delight throughout. [4/5]
‘A Rainy Day In May’: A simple song sees the album out, but in its simplicity, it highlights all of the elements of this album that stand out. The well-thought-out instrumentation, willingness to play with vocal melody, and excellent lyricism make this record something for everyone. [3.5/5]
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