“Does anybody else know how I feel?”
No Devotion is a band that was initially formed as an attempt to turn the page on tragedy and move forward. In the aftermath of their previous project, a lifeline came from Thursday lead singer Geoff Rickly, and they began a collaboration that resulted in No Devotion’s 2015 debut Permanence. A fantastic blend of the post-punk and new wave of groups like The Cure and Joy Division, alongside modern synth-pop influences, the record seemed to be the start of a bright new future for all involved.
Yet tragedy sadly caught up to No Devotion shortly after the album’s release. Rickly’s label Collect Records went under, and Rickly himself was robbed in Germany. No Devotion soon went on hiatus, and little was heard regarding the project for many years. Now, seven years after the release of Permanence and following the departure of two members, No Devotion are finally back with their second album, No Oblivion. The key question is whether the now three-piece can once again overcome the darkness of their past, and recapture the unique melancholy atmosphere of their debut so many years later.
Thankfully, the answer is a resounding and immediate yes. No Oblivion pulls off the difficult feat of seeming like very little time has passed since the release of Permanence, while also progressing the band’s distinct sound in notable ways. Opener “Starlings” instantly pulls the listener back into the enveloping soundscapes of No Devotion’s debut, with towering synths serving as a launching pad for an emotionally rich vocal performance by Rickly.
“Black, black, black secrets circulating in the black night/Black shoes, black shirt, black dress, black frame for a black eye,” Rickly croons, perhaps hinting at the collective trauma of the group’s past. Such lines avoid falling into cliché due to the frontman’s passionate, earnest delivery, as well as the excellent compositions backing them up.
Compared to Permanence, No Oblivion is overall more downtempo and melancholy, with rich atmosphere frequently taking precedence over pop hooks. While this may make for a listening experience that lacks some of the instant punch of Permanence, it also gives No Oblivion greater musical depth that rewards repeat listening. The album’s eight tracks feel like a complete, meticulously considered body of work.
“Love Songs from Fascist Italy” kicks off with low-key layers of guitar and Rickly singing longingly of youthful innocence that has since faded into distant memory. The song builds to a massive chorus, with guitarist Lee Gaze delivering a powerful riff that contrasts the more subdued verse sections perfectly. This is an album best experienced on headphones, as multiple listens peel back new layers of the phenomenal production work.
Album centerpiece “The End of Longing” brings back the kinetic energy of Permanence, and also serves as a sort of mission statement for No Oblivion as a whole. Over pulsating synths and a grooving dance-punk beat, Rickly sings, “You can’t escape the longing for the way it was, the way it was always meant to be.”
No Oblivion is an ode to past regrets and memories of simpler times, but it is also a powerful statement of carving out a new future for yourself, and a resilience that can only be taught through suffering and heartache. One can only hope that this time, No Devotion are here to stay.
8.5/10
No Oblivion will be available tomorrow, September 16th, via Velocity Records, and you can pre-order it here.