Review of "People Who Aren't There Anymore" by Future Islands - album of the week according to Alexis Petridis.

The most recent time that the world was exposed to Future Islands was in 2020. Their album, As Long As You Are, suggested that things had improved after a tumultuous period in the band’s past. In 2014, after 11 years of being a well-respected but relatively unknown band, they suddenly became viral sensations overnight thanks to their first television appearance on The Late Show With David Letterman, where they performed their hit song Seasons (Waiting on You) live. This sudden fame led to sold-out shows at the Brixton Academy and collaborations with icons like Debbie Harry. However, it also brought some challenges. The band was unhappy with their 2017 album, The Far Field, which they felt was a “condescending” attempt to conform to mainstream success. But As Long As You Are showcased a contented sound, with many tracks focusing on the redemptive power of love and lead singer Samuel T Herring’s happy relationship with his partner, Julia Ragnarsson. One song, titled Glada (the Swedish word for red kites), was inspired by Herring’s time in Sweden with Ragnarsson, who starred in a popular Swedish drama series called Fartblinda (Blinded).

Future Islands: People Who Aren’t There Anymore album art.

There are similar songs on the album following this one: People Who Aren’t There Anymore starts with King of Sweden, where Herring is so deeply in love that he feels like a rebellious teenager again (“feeling like I’m 15, wandering with the Misfits”); “I belong to you, I belong to you,” he sings on Deep in the Night. However, these songs now feel isolated and scattered throughout the album, which mainly focuses on the breakdown of his relationship. The chorus of “you are all I need / Nothing said could change a thing” in King of Sweden is colored by what comes after, with Herring’s signature vocal growl suddenly sounding pained rather than cathartic in this context.

The Letterman performance gained widespread attention because Herring’s delivery was so passionate and genuine. In a world where everyone carefully presents an image of coolness, Herring stood on stage without any filters, completely immersed in his performance. He danced freely as if no one was watching, even beating his chest to the point where it could be heard over the music. He reached out to the audience, pleading as he sang. This sense is also present in the song’s theme. The distance between the two individuals in the relationship ultimately caused its downfall. The lyrics mention the struggle of maintaining contact while being in different time zones, and the impact of Covid lockdowns on their relationship. “Our love died in two places – I had to watch it fall apart from here / You had to watch it disappear.” Despite the reason for their separation, “People Who Aren’t There Anymore” delves into the details with no holds barred. It examines everything from initial doubts and unease to introspection and regret. The song “Give Me the Ghost Back” even features self-examination and “Peach” portrays a desperate and futile attempt to revive their relationship. The album concludes with a sense of melancholic acceptance in “Corner of My Eye.”

The music is powerful, but slightly confusing as the songs are not presented in a chronological order. They range from feelings of despair to passionate declarations of love to accepting circumstances with resilience. However, the music adds some balance to the intensity. Throughout their seven albums, Future Islands has chosen to refine their sound rather than make drastic changes. If you have listened to any of their previous work, you will find familiar elements here: consistent beats, shifts between soft and loud sounds, a deep bass reminiscent of Peter Hook, and a mix of icy and shimmering synthesizers influenced by the band’s love for early 80s OMD. These elements give a touch of stadium rock to the choruses, along with Herring’s distinct vocals.

There are definitely some small changes in the sound, such as subtle variations in guitar and a rhythmic element on “Iris” that has a hint of West African influence. However, the album’s main focus is not on surprising listeners with new sounds. Instead, it excels in pairing Herring’s lyrics with captivating melodies. This can be heard on tracks like the soaring ballad “Corner of My Eye,” the lush “Peach,” and the sparkling “Say Goodbye,” which contrasts with the somber emotions of the song. Overall, the album is compelling and powerful, standing out from previous works and leaving listeners moved rather than unimpressed.