The wait is over for “The Early November”, the highly anticipated new album from alternative rock group The Early November. Featuring recent singles “The Empress”, “Tired Of Lying”, and “The Fool”, “The Early November” is a 10 song collection that pays homage to who the band is, was, and has yet to become.
Recorded last spring at Enders’ studio in Ocean City, NJ, The Early November ripples with those very emotions that inspired its ten songs, but also carries within them the creative freedom to experiment that feeling shunned instilled in them. It immediately draws you into its world with the emotive exhilaration of opener “The Empress”.
It’s classic Early November—full of highs and lows, youthful turbulence and tenderness, self-reflective quietude mixed with bursts of anthemic melody—and expertly sets the scene the tone of the record, musically and thematically. One of four songs named after tarot cards—“The Magician”, “The Fool” and “The High Priestess” are the others—it pits innocence against experience, infusing the trademark visceral emotion of the band’s songs with a previously unmatched level of introspection.
“Maybe it’s because I’m older,” says Enders, “but when I’m in a hard place trying to figure out what the next turn in life that I have to do to keep me sane is, it’s almost like you find yourself looking at those kind of cards. And when one’s pulled out that you don’t like or that maybe doesn’t make sense, you look into it and try to make sense of it. So it was all about grasping at anything or anybody to tell me what to do, whether that’s a mystical power or a fortune teller. A lot of these songs are struggles, trying to make sense of those very moments—of pulling a card that doesn’t reflect how you want it to reflect and isn’t what you were hoping for—and where they put you ten years down the road. It’s very much looking within and trying to replay those things that keep you up at night.”
It was writing “The Fool” that flung open the door to really explore those themes in full—the possibility of the future, but also the possibility of a future that’s not what you want. It makes for what Kummer calls an “emotionally heavy” record, but that weight is buoyed by their (self-)production. That’s something which drives home the meaning of these songs, simultaneously elevating and contradicting their lyrics, and in the process demonstrating how much The Early November have evolved as songwriters on this album. Whether that’s the glitchy electronics that underpin the soulful longing of “The Dirtiest Things” or the infectious pop hooks of the beautifully earnest “We Hang On”, the melancholy bittersweet explosion of “About Me” (which features Enders’ son on bass) or the plaintive acoustic lullaby of “It Will Always Be”—a gentle acoustic song that’s reminiscent of the band’s earlier years but imbued with the knowledge that comes with age—The Early November is a record that captures who the band have always been, but also who they’ve always wanted to be. It’s a tussle, once again, between past, present and future. None—or perhaps all—of them win.
After two decades, it would be all too easy for a band to just phone it in—capitalize on the fanbase they’ve built up in that time and just make a watered-down version of themselves. Not for The Early November, however. Ever since forming in New Jersey in 2001, the band, now consisting of front man Ace Enders and founding drummer Jeff Kummer— have constantly been striving to find the best and most definitive version of themselves. With this self-titled record, the seventh studio album of their career, the duo have come as close as is possible to doing so. It’s an album that ties the past, present and future all together, and as such, it marks what Enders calls a “period or exclamation point in our sentence”. It’s not a new beginning, per se, but nevertheless something emphatic that signifies, in Enders’ words again, “a pivotal moment” for them both.
“The initial spark of this record was frustration,” he says. “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. Not ‘I don’t care about the world’, but really digging deep artistically and 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.”
“There have been so many highs and lows throughout the career of this band,” adds Kummer, “but it got very dark. And a lot of this record is coming out of that, but we’re still here with a collection of brand new songs and it feels right. I feel more connected to where Ace’s mind is with this record than I ever have before.”
Hypothetically speaking, if this were the end of The Early November—if this is it, as Enders was thinking when writing these songs—it would be an incredible note on which to leave. Of course, that’s only hypothetical. The truth is that, while it was a consideration at times, this album proves the band have plenty left to give.
