To say the recording of The Early November’s self-titled record was turbulent would be an understatement. Having once been a five-piece, boasting enough musicians to create several layers of guitar sounds in a single song, they are now down to two members, in the form of founding drummer Jeff Kumer, and lead-singer and guitarist Arthur ‘Ace’ Enders.
This period of upheaval, and several years of treading water left the band in something of a rut. “The initial spark of this record was frustration,” says Enders. “Although we are growing in many ways and it’s a beautiful thing to be able to do what we do, it was born out of feeling like you’re doing the same thing over and over again, and out of this ‘I don’t care’ mentality.”
This led the band, for the first time since their four-year hiatus between 2007 and 2011, to consider if they still wanted to make the same music they’d been making for years. Did the scene still care if they carried on? Did they even want to carry on? Ultimately, it led to Enders considering putting a full-stop on The Early November, and taking the band out in a blaze of glory. “Having the view that if this is it, then I want The Early November to finally have the album that’s good enough to be the self-titled album.”
It’s worth mentioning the band’s 2007-2011 hiatus, as the result at the end of that period of inactivity was the album In Currents. Not only is that the record that self-titled most closely resembles sonically, but it was also borne from a period of band turmoil, and existential questions.
Like on ‘Currents, this album is full of contemporary alternative rock, featuring the band’s characteristic duelling, crunchy and twinkly guitar sounds, along with glitchy electronics that have largely been absent since then.
Tracks such as What We Earn and The Fool are perfect examples of this style. The former in particular, starts off with synthetic drips and shimmering guitars accompanying Enders’ soft croon during the verses, before the chorus kicks in with hammered power chords, and a shouted refrain.
Album opener, The Empress, kicks things off with a melancholic, jaded alt-rock sound. Lyrically, Enders touches on the churn of relentless touring as a band 20 years into their career and still trying to achieve the unquantifiable state of having “made it.” All the while, they experience the same anxieties as their audience, and their desire to lose themselves in the blissful chaos of a show.
We Hang On has a lush, soft guitar sound-the sonic equivalent of a calm summer’s sunset. Lyrically, there’s a nostalgia and melancholy here – Enders’ lamenting the strains that distance and chasing one’s dreams can have on a relationship. But ultimately, this sounds like a moment of contented reflection, on an isolated beach on a quiet evening.
Tired of Lying and The Dirtiest Things sound like someone picked up the B-sides from In Currents and hurled them through the 80’s. As much of a mish-mash as this undoubtedly is, it works remarkably well; the synths on the former, and electronic drums on the latter adding a sheen to Enders’ existential anguish.
As Enders’ intent was to capture the quintessential The Early November sound, the band doesn’t deviate too wildly on this album. However, when they lean into the more straightforward rock sound of 2015’s Imbue it very much works. The High Priestess, The Empress and The Magician all fall into this category.
The album closer It Will Always Be is a predictably soft affair. Acoustic numbers are nothing new to The Early November or Enders’ various side-projects. This is a pleasant, if forgettable addition to this oeuvre, but the song’s whispered ending “holding on so tight, it’ll be alright” suggests that an album borne out of frustration has led to the realisation that there’s more to come from this grizzled New Jersey act.
Much like In Currents, this self-titled record is very much a grower. There’s undoubtedly excellent songwriting here, but it lacks the immediacy of some of their earlier work. However, as an exercise in establishing the band among the scene’s elder statesmen, this is definitely a success. The Early November have definitely made an album that would – should it come to it – be a perfect send-off for a much-loved act. It’s also proof that they still have plenty to offer the contemporary emo and alternative scenes, should they choose to continue.
7/10
Standout Tracks: The Empress, The Magician, About Me
For Fans Of: Yellowcard, Dashboard Confessional, Kids in Glass Houses
Written by: Tom Forrester
