It’s Black Country out there

On Black Country, New Road’s blend of Post-Rock, Free Jazz, Klezmer and Art-Pop

by Harry Carlson | 06 December 2020



(Left to right) Georgia, Tyler, Charlie, May, Lewis, Luke & Isaac

Last month saw Black Country, New Road release their third single Science Fair –six more minutes of the band’s sharp instrumentals and vocalist, Isaac Wood’s spoken-word that accompanies each track, filled with sprawling blank-verse and tales of maladjustment. Science Fair seems to encapsulate all the themes explored in the bands previous two singles, Sunglasses and Athens, France, – that of self-image, sexual anxiety, irony, over-thinking and the complicated nature of inter-personal relationships in conjunction with memory. The track perfectly satiates and swells up to bursts of noise and cutting alto saxophone, then retracts ever so slightly to move with the tone of the lyrics’ narrative. The release of the single also coincided with the announcement of their much-anticipated debut album, due February next year. Few other bands have achieved such stature in such a short period of time, initially solely through their tense live shows in the East London DIY scene, sharing spaces such as The Windmill with the likes of Black Midi and Squid. A path to growth that has become increasingly rare and harkens back to the no-wave bubble of CBGB’s in 1980s. The Quietus and Loud & Quiet have gone on to publish ever-scarce interviews with the band since their first appearances around the scene, the New York Post and The Guardian also publishing commendatory reviews of their much-discussed live shows. ​ Georgia Ellery of Jockstrap on violin, Charlie Wayne on drums, Lewis Evans on saxophone, Tyler Hyde on bass, May Kershaw on synth/piano and Luke Mark on guitar, provide the driving