- Record Label: Epitaph
- Release Date: Sep 29, 2017
Always Foreign
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out of 10
User Score
Generally favorable reviews- based on 15 Ratings
- Summary: The third full-length studio release for the Connecticut emo group was produced by Chris Teti.
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- Record Label: Epitaph
- Genre(s): Pop/Rock, Alternative/Indie Rock, Indie Rock
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Top Track
| Wendover | |
|---|---|
| We left our money in the box and set out for a town you love where something positive happened to someone else but you heard it's true With a... | See the rest of the song lyrics |
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Score distribution:
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Positive: 8 out of 8
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Mixed: 0 out of 8
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Negative: 0 out of 8
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Oct 2, 2017With this album, The World is a Beautiful Place & I Am No Longer Afraid To Die has stepped up to the challenge of their name (as well as their previous lyrics riffing off the name), and show that they are willing to fight to make it a reality. While this battle may be a substantially uphill one, Always Foreign stands as an impeccable call to arms.
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Oct 2, 2017It's not loud or in-your-face. It's not preachy. Their stance is subtle yet strong.
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Oct 2, 2017While Always Foreign is by no means a happy record, it’s still a joy to listen to, driven by the same belief in community, evolution, and possibility that earned their debut EP the title of Formlessness.
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Oct 2, 2017Given the state of American society and politics in 2017, the catharsis the band taps into on new album Always Foreign sounds more necessary--and terrifying--than ever before.
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Oct 2, 2017They feel more effective now that they’ve found a way to write as a focused beam rather than a eclectic lineup of individual musicians, and long-term followers will be thrilled by the album’s back half, which retains their well-established experimental bent.
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Oct 5, 2017Distilling discomfort into something more palatable is never easy, but with a name like the World Is a Beautiful Place & I Am No Longer Afraid to Die, the band probably knew that going in.
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Oct 25, 2017A large portion of Always Foreign focuses on building terse melodic post-rock suites (Faker), though their words are necessary and valued, and they emote them with a heartfelt directness that recalls their formative beginnings (Dillon and Her Son, Gram). This balancing act of moods can sometimes lend Always Foreign an air of indecision, though if the intent was to take it as majestic as it can be, then they remove any trace of subtlety on the album’s rousing power ballad as if applying the handkerchief-in-hand progressive elements of Queensryche (Infinite Steve).
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