You're nuts man.
Anyway, I, like DJ_sirbadgelot (sorry if I've mis-spelt you there mate!), waited until release before listening to We Are The Night. I'm not bragging or anything, it was more a case of some ill-founded mark of respect or something. I dunno, it felt like the thing to do. Apart from Do It Again which I bought the single of on release day, and Saturate which was EBW8, I hadn't heard any of WATN before today, and I just wanted to put some comments down on my feelings as I've just finished listening to it.
My first thoughts as No Path To Follow started played were that this was going to be very different, more experimental and free. A feeling which was confirmed later, but I'll come to that. I was eager to hear We Are The Night as Rich has been banging on about it for a while, and it's good. It's not what I was expecting, but then again, that the Chems all over :) So, onto All Rights Reversed and a slight hint of disapointment creeps in. This one will need to grow, like so many of the great Chems tunes in the past, my initial listen wasn't mind-blowing. Next came Saturate, which felt like a radio edit initially, but quickly got into the meat of the track. Lying on my bed, I was nearly brought to tears when it had me flashing back to NYE, I just layed there rushing and feeling it (sober, btw) - really special track that may have replaced Hold Tight London as my "big emotion" song. I was amazed at Do It Again, as I'd been a harsh on the single version (radio edit), but it comes alive as an album track, just like It Began In Afrika. Das Spiegel signified the halfway point, and it's a good track. At this point, I think I should point out that the Chems have been a bit cheeky making this album. There are 2 tracks so far where I've noticed they've used sounds that they've used before - almost like sampling themselves. Made me smile, it seemed a bit cheeky in a comical way. Anyway, Das Spiegel felt like The Big Jump because of the bouncy melody, but that's where the similarity ended. This track is really experimental, and will take a while to digest before I know the full score on it. It seems to be a bit of a cracker though.
New paragraph now, as we come to The Salmon Dance. Err, I wish I hadn't. While I enjoyed Left Right because of the political aspect of the song, and Galvanize because of the punch & vibe of the track, I didn't like The Salmon Dance at all. The only thing about it I did like was the bass in the breakdown. I didn't have my speakers on loud, and I don't have a sub, but BOY was it powerful. I was staggered at the power, there isn't another track I've encountered ever that does it in the same way. Gotta give that to the Chems, that bass is sweet. But enough of The Salmon Dance, we're onto Burst Generator. There's talk somewhere on here of this being the next single, but I don't see it happening. It doesn't feel like a single, doesn't have commercial appeal. Don't take these as negative comments, as I adore this track. It is absolutely incredible. For the whole 7 minutes, I had a huge grin on my face, it's not an emotional track, it's just a superb song that doesn't put a foot wrong. It's genius and I wanted to hear it over and over. But it leads onto A Modern Midnight Conversation, and so must I. Initially, I thought this track was good, even taking in a sprinkle of electro (perhaps the "modern" part of the title?) with the melody and sounds. But about halfway through, I released that the vocals in this track don't fit, they feel really juxtaposed (did I make that word up?). Just as I was getting disappointed again, I realised what was going on. For the first half of the track, I thought this track was supposed to be a modern, clubby/dancey type track, in a fairly convention sense, and it failed at that. But, in the second half, this track shows it's true colours as the experimental beast it is. Again, like Das Spiegel, it will take time to absorb, but I'm willing to give this track a chance and a thorough listen to try to capture everything in it. Battle Scars is next, and this track reminds me of Push The Button's "band-style" of track. The track is quite basic, it's good, but once I learn the lyrics it'll be fantastic. The use of the 'No Path To Follow' vocals again, made me think why the Chems bothered to start the album with it, and why they didn't just start with We Are The Night. Harpoons is a bit of an odd one, more in the experimental style. The words "Boards Of Canada" sprung instantly to mind, and that is no bad thing (as I'm sure several people hear will agree!). It's short and sweet, and leads nicely into the album closer.
The Pills Won't Help You Now was hyped by a couple of people hear, and also by it's actual name itself. With a title like that, I was expecting a dark, epic of a track, so was surprised to get the shuffly beat and lyrics that come at the start. Although the track builds nicely, and the lyrics and singing (that guys voice is great) are awesome, it's very different from the other Chems "epics". This is not a bad thing, it shows their amazing diversity of musical ability. The structure was vagely reminiscent of previous Chems epics (not TPPR though) in that it's a game of 2 halves, but the way this tune is executed is so different from the others. It's got a real indie-rock feel thanks to the vocals, but at heart you know it's a Chems epic. It's good, but not at the same level of the others - TPPR, The Sunshine Underground, The Test, and Surface To Air if you can't figure it out. Weird, I just noticed that Surface To Air is the only one that doesn't start with "The".
Overall, this album grabbed me more that their previous ones on initial listen. It seems a bit patchier than the others in terms of, well, my opinion I guess, but that is definately subject to change as the album grows on me. I'm proud to call myself a Chems fan (if the username didn't give that away!) and I'm happy to finally join the WATN listeners group - it WAS worth the wait :)