Acclaimed British post-punk outfit THE THE was founded by singer/songwriter and multi-instrumentalist Matt Johnson back in 1979 and through various iterations and configurations, Johnson and his collaborators have developed a sound and approach that seems to inhabit its own difficult to define genre: music of long shadows, high hopes, channeled anger, feverish passions and sweetly disturbing poignancy that meshes elements of pop, rock, blues, folk and soul among others while spanning alienated electronics to twisted cinematic soundtracks, guitar tumbling swing to crimson ballads, rants and prayers to diaries and hymns.
Over the course of their 45 year history, Johnson and company have released only five full-length albums of original material, 1983’s Soul Mining, 1986’s Infected, 1989’s Mind Bomb, 1993’s Dusk and 2000’s NakedSelf. Having a long-held reputation for being unpredictable, the band has also tackled covers, such as 1995’s Hanky Panky; film soundtracks, including 2009’s Tony, 2010’s Moonbug, 2014’s Hyena and 2019’s Muscle; art installations, a the Radio Cinéola podcast series; 2017’s moving, 84 minute documentary/multimedia project The Inertia Variations and various book publications including 2018’s Matt Johnson biography Long Shadows, High Hopes: The Life and Times of Matt Johnson & THE THE.
2017’s The Inertia Variations took inspiration from British poet John Tottenham’s 2005 book of the same name — particularly the idea of “brooding, abstraction and evasion” getting in the way of the creative process. The Inertia Variations eventually resulted in not just the documentary, but also the Radio Cinéola Trilogy triple album box set.
At the end of The Inertia Variations documentary, Johnson was filmed performing a new song live in his studio, “We Can’t Stop What’s Coming,” an energy to his older brother Andrew Johnson, an artist professionally known as Andy Dog, who died in 2016. “It was not an easy song to write,” he says. “That was the first time I’d sung in many years. I enjoyed it but found it very emotional.”
The experience prompted Johnson to revive THE THE as a live band — and it lead to the sold-out 2018 The Comeback Special world tour. The COVID-19 pandemic delayed the release of the accompanying live film and album until 2021. And of course, the pandemic also delayed the intended start on the writing and recording of first THE THE album in almost 25 years, Ensoulment. Instead, Johnson and company released a series of 7 inch singles that started with 2017’s “We Can’t Stop What’s Coming,” 2020’s “I WANT 2 B U,” and last year’s “$1 ONE VOTE!”
The 12-song Ensoulment is slated for a September 6, 2024 release through Cinéola/earMUSIC. The album reportedly contains echoes of the acclaimed British outfit’s multifaceted and lengthy musical past, however, it’s richly representative of the mercurial band’s here and now. The album continues Johnson’s long-held reputation for being unafraid to tackle the inherent emotional complexity of the human condition — in particular, intimacy in an age of alienation; democracy in a post-truth age; empire and vassalage; the seemingly inexorable rise of AI and more. And yet, the album is rooted in hope. “It’s vital to be hopeful,” Johnson states. “And I hope people get out of the album what we put into it. It was created under very happy circumstances, with a great vibe amongst the band and all the people that worked on it. There was a lot of thought, a lot of work, a lot of love, a lot of laughter!”
The album’s material were further refined in rehearsals, just before a six-day recording sessions at Bath, UK-based Real World Studios, where Johnson was joined by long-standing band members James Ellen (bass), DC Collard (keys), Earl Harvin (drums) and Barrie Cadogan (lead guitar). The album also marks the return of co-producer and engineer Warne Livesey, who worked with the band on Infected and Mind Bomb. The album also features contributions from Gillian Glover (backing vocals), Terry Edwards (horns), Sonya Cullingford (fiddle) and Danny Cummings (percussion).
Ensoulment’s first single, the Matt Johnson and Barrie Cadogan co-written “Cognitive Dissident,” is a brooding and slinky number, anchored around a strutting bass line, bursts of squiggling, reverb-soaked guitar, Johnson’s breathy speak-singing delivery, sultry cooing from Gillian Glover, atmospheric electronics, skittering percussion paired with an equally slinky and remarkably catchy hook. Thematically, the song captures the madly topsy-turvy Orwellian nature of modern life with an uncanny and unsettling attention to detail.
The recently released accompanying video for “Cognitive Dissident” was directed by Tim Pope with editing, VFX and projections People Like Us/Vicki Bennett and Peter Knight — all of whom are longtime collaborators with Johnson and THE THE. The video employs a relatively simple yet trippy premise: Johnson having projections of digital and analog noise, the song’s lyrics and some slick editing.
THE THE tour dates
8/21 – Cambridge Junction – Cambridge, England SOLD OUT
8/22 – The Waterfront Norwich – Norwich, England SOLD OUT
8/23 – Picturedrome – Holmfirth, England SOLD OUT
8/25 – National Museum Of Ireland – Dublin, Ireland
9/10 – Sentrum Scene – Oslo, Norway
9/11 – Sentrum Scene – Oslo, Norway SOLD OUT
9/13 – Filadelfia – Stockholm, Sweden
9/14 – Store Vega – Copenhagen, Denmark SOLD OUT
9/15 – Store Vega – Copenhagen, Denmark SOLD OUT
9/17 – Huxleys – Berlin, Germany
9/18 – Carlswerk Victoria – Köln, Germany
9/19 – Ancienne Belgique – Brussels, Belgium SOLD OUT
9/21 – De Roma – Antwerp, Belgium SOLD OUT
9/22 – Paradiso – Amsterdam, Netherlands SOLD OUT
9/23 – Paradiso – Amsterdam, Netherlands SOLD OUT
9/25 – Usher Hall – Edinburgh, Scotland SOLD OUT
9/27 – The Civic At The Halls – Wolverhampton, England
9/28 – Alexandra Palace – London, England SOLD OUT
9/30 – O2 Apollo – Manchester, England SOLD OUT
10/1 – O2 Academy Brixton – London, England
10/11 – Tabernacle – Atlanta, GA
10/12 – Durham Performing Arts – Durham, NC
10/14 – The Anthem – Washington, DC
10/15 – The Fillmore – Philadelphia, PA
10/17 – Beacon Theatre – New York, NY
10/19 – Orpheum Theatre – Boston, MA
10/20 – MTELUS – Montreal, QC
10/22 – Massey Hall – Toronto, ON
10/23 – Masonic Cathedral Theatre – Detroit, MI
10/25 – The Salt Shed – Chicago, IL
10/26 – Palace Theatre – St. Paul, MN
10/29 – Mission Ballroom – Denver, CO
10/30 – Eccles Theater – Salt Lake City, UT
11/2 – Paramount Theatre – Seattle, WA
11/3 – Roseland Theater – Portland, OR
11/4 – Orpheum – Vancouver, BC
11/7 – Fox Theater – Oakland, CA
11/8 – Shrine Auditorium – Los Angeles, CA
11/14 – Kiri Te Kanawa Theatre – Auckland, New Zealand SOLD OUT
11/16 – Palais Theatre, Melbourne, Australia SOLD OUT
11/17 – Palais Theatre, Melbourne, Australia
11/18 – Hindley Street Music Hall, Adelaide, Australia
11/21 – Sydney Opera House, Sydney, Australia
11/22 – Sydney Opera House, Sydney, Australia
11/23 – Fortitude Music Hall, Brisbane, Australia SOLD OUT
11/24 – Fortitude Music Hall, Brisbane, Australia
11/27 – Fremantle Arts Centre, Perth, Australia
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