Rising Brooklyn-based synth pop trio Nation of Language — — Ian Richard Devaney (vocals, guitars, percussion), Aidan Noell (synth, vocals) and Michael Sue-Poi (bass) — can trace their origins back to 2016: Devaney and Sue-Poi were members off The Static Joys, a band that became largely inactive after the release of that band’s sophomore album. And as the story goes, Devaney was inspired to start a new project after hearing OMD‘s “Electricity,” a song he had listened to quite a bit while in his father’s car.
erestingly, what initially started out as Devaney fooling around on a keyboard eventually evolved to Nation of Language with the addition of Noell and Sue-Poi. Between 2016-2019, the Brooklyn-based synth pop trio released a handful of singles that helped to build up a fanbase locally and the outside world.
ast year’s full-length debut, Introduction, Presence was released to critical praise, landing on the Best Albums of 2020 lists for Rough Trade, KEXP, Paste, Stereogum, Under The Radar and PopMatters. They capped off a massive 2020 with the A Different Kind of Light”/”Deliver Me From Wondering Why” 7 inch, which featured the A Flock of Seagulls and Simple Minds-like “Deliver Me From Wondering Why.” The act’s latest single “Across That Fine Line” is the first official single off their highly-anticipated sophomore album A Way Forward slated for a November 5, 2021 release.
Centered around shimmering synth arpeggios, a relentless motorik groove, a rousingly anthemic yet dance floor friendly hook and Devaney’s plaintive vocals, “Across That Fine Line” continues a run of crowd pleasing and decidedly 80s inspired material; if you’re a child of the 80s A Flock of Seagulls and few others come to mind.
‘Across That Fine Line’ is a reflection on that moment when a non-romantic relationship flips into something different,” Nation of Language’s Devaney explains in press notes. “When the air in the room suddenly feels like it changes in an undefinable way. It’s a kind of celebration of that certain joyous panic, and the uncertainty that surfaces right after it.
“Sonically, it’s meant to feel like running down a hill, just out of control. I had been listening to a lot of Thee Oh Sees at the time of writing it and admiring the way they supercharge krautrock rhythms and imbue them with a kind of mania, which felt like an appropriate vibe to work with and make our own.”