The first sound you hear is a sustained feedback note that hangsin the air with the grace of a dragonfly before an acoustic riff
spirals out of it, soaring upwards. It’s blissful and sun-soaked,like a late summer haze blurring out all the details on thehorizon. When voices join the music, they arrive perfectly
locked together, honed in on a single melody: “It’s time to movealong/and leave the past behind me...” The message is simple.Don’t look back, only forward.

“Foreign Land” is the opening track on Teenage Fanclub’s eleventh full studio album, Nothing Lasts Forever. That track—and the rest of this beautifully rich and melodic album—is the
sound of a season’s end, of the last warm days of the year whilenights begin to draw in and thoughts become reflective andmore than a little melancholy.

That reflection is everywhere on the record, whether on theautumnal folk rock of “Tired of Being Alone” that repositionsLaurel Canyon to somewhere deep in the heart of the Wye
Valley, the William Blake–quoting “Self-Sedation,” or on thesong that preceded Nothing Lasts Forever’s completion, last year’s“I Left a Light On,” where a spark of hope is kept alight at theend of a relationship.

One of the recurring themes on Nothing Lasts Forever is light, asboth a metaphor for hope and as an ultimate destination furtherdown the road. Although the band’s songwriters Norman Blakeand Raymond McGinley found themselves touching on similarthemes, it was pure coincidence.

Raymond: “We never talk about what we’re going to do beforewe start making a record. We don’t plan much other than the nuts and bolts of where we’re going to record and when. Thatthing about light was completely accidental; we didn’t realizethat until we’d finished half the songs. The record feels reflective,and I think the more we do this thing, the more we becomecomfortable with going to that place of melancholy, feeling andexpressing those feelings. Recording vocals is a fairly intenseprocess. We’re in close contact in those moments. If you’respending time in close proximity, it’s inevitable ideas are going
to rub off on each other.”

Norman: “These songs are definitely personal. You’re getting older, you’re going into the cupboard getting the black suit out more often. Thoughts of mortality and the idea of the light must have been playing on our minds a lot. The songs on the last record were influenced by the breakup of my marriage. It was cathartic to write those songs. These new songs are reflective of how I’m feeling now, coming out of that period. They’re fairly optimistic, there’s an acceptance of a situation and all of the
experience that comes with that acceptance. When we write, it’sa reflection of our lives, which are pretty ordinary. We’re not
extraordinary people, and normal people get older. There’s a lotto write about in the mundane. I love reading Raymond Carver.
Very often there’s not a lot that happens in those stories, but they speak to lived experience.”

While the vocals and the finishing touches on Nothing Lasts Forever were recorded at Raymond’s place in Glasgow, the music was recorded in an intense ten-day period in the bucolicWelsh countryside at Rockfield Studios, near Monmouth, inlate August. You can hear the effect of that environment on the
record—it’s full of soft breeze, wide skies, beauty, and space.

Raymond: “We like to get something out of where we go, andyou can definitely hear a stamp of Rockfield on the record. We
recorded our album Howdy there in the late ’90s. Prior to that,I’d been a bit reluctant to go as everyone seemed to record there,
especially if you were signed to Creation, but I thought I’d goand have a look at the place. When I went down there, I loved
the fact that there’s no memorabilia about anyone who’s everbeen in the studio. The only visual musical reference is a picture
of Joe Meek on their office wall. Anyway, over 20 years afterour first visit, we decided to go back. When you’re there, it feelslike your place. We’re really rubbish at trying to find words to
describe how our music sounds, but maybe because we recordedin Rockfield in late summer, there’s something pastoral about
the record.”

The band that recorded Nothing Lasts Forever—Blake andMcGinley along with Francis Macdonald on drums, DaveMcGowan on bass, and Euros Childs on keyboards—arrived
at the residential studio without a fixed plan. Their confidenceand ease with working together meant the record came together
incredibly quickly.

Raymond: “When we got offered ten days in Rockfield, weweren’t ready in our minds, but then we just thought, ‘fuck it’and went for it. If you’re sitting around waiting for the stars to
align, you can end up never doing anything. We turned up andworked our way through ideas, and came up with some whilewe were there. The song ‘Foreign Land’ was born in the studio.
If we hadn’t gone there at that point through happenstance, thatsong wouldn’t exist. We like to let things happen. As people, wefind a deadline inspiring. We like to put ourselves on the spotand see what happens. We usually get away with it. This recordis the cliché of the blank canvas, which thankfully we managed
to fill.”

Norman: “We’ve all been playing together for such a long time—and I can include Euros in that because we’ve been playingtogether for nearly 15 years [the duo formed the band Jonnyand released an album on Merge in 2011]. In the past, whoeverhad written the song would have been the director. ‘This is how I’m hearing the drums, if you could play the bass like this...’ We don’t do that now. Raymond or myself would just bring in the idea, and people would listen and play what works with it. We’d play for a couple of hours and that would be the arrangement.There’s a trust that comes from knowing each other such a longtime, a kind of telepathy. Everyone knows where they fit in the
puzzle.”

Raymond: “One of the things I love about music is that it’sbeyond language. And it’s beyond analysis. As musicians, you’replaying and it happens. That is the definition of what being a
musician is. If you start giving people rigid instructions, it losesthe magic. Everyone in the band is a good enough musician thatthey can respond in the moment, so most of the arrangementsfor the songs form instinctively.”

One of the most striking lyrics on the record is on the closingtrack, “I Will Love You.” A gorgeous seven-minute, almost Kosmische acoustic daydream drone, it looks to a point beyond the fury and polarization of our modern discourse, to a time when “the bigots are gone/after they apologize/for all the harm
that they’ve done”.

Raymond: “In many ways, us-and-them-ism has taken over the world. ‘I Will Love You’ is looking for positivity, but it’s being totally fatalistic at the same time: This shit will exist forever. What
are you going to do about it? I came up with the line ‘I will loveyou/until the flags are put down/and the exceptionalists are
buried under the ground’ while I was playing the guitar. I startedwondering what that was all about and where it might go. It’slooking for positives within a fatalistic, negative view of humannature.”

Looking for positives while faced with the grim realities of the 21st century feels very Teenage Fanclub—a band who’ve been a force for good for over three decades and who can effortlessly
turn melancholy into glorious, chiming harmony.

Harmony that will last forever.