The The – Ensoulment (Cineola/earMusic) (13th Floor Album Review)

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Ensoulment marks the first major studio album from The The in over two decades, following a series of soundtracks and compilations that kept Matt Johnson creatively active. As with previous albums, Johnson combines introspective and political lyrics with the emotionally resonant music the band is known for.

Johnson’s voice, retains its gravelly, emotive tone, conveys vulnerability and intensity and perfectly matching the weight of his lyrics. Musically, Ensoulment blends The The’s signature styles—post-punk, blues, folk—with psychedelic and experimental elements to complement the compelling lyrics drawn from many of Johnson’s recent experienced with mortality and views on morality.

The TheThe opener, Cognitive Dissident, blends a bluesy feel with Johnson’s reflections on truth, deception, and societal contradictions. James Eller’s bass provides a solid groove while (Little) Barrie Cadogan’s guitar adds a punchy edge. The lyrics play with opposites in a disorienting yet clever way: “Square is round, east is west.”

Some Days I Drink My Coffee by the Grave of William Blake takes a poetic, contemplative turn. With DC Collard’s ethereal keyboards creating a pastoral atmosphere, Johnson muses on life and history with a meditative tone. His voice, understated and intimate, invites the listener into a reflective space.

Zen & The Art of Dating provides commentary on modern relationships. The drumbeat sways under Johnson’s lyrics, “Swipe to the left, swipe to the right, she needs somebody tonight,” and captures the fleeting nature of digital romance.

Kissing The Ring of POTUS contains sharp contemporary political critique much like the biting commentary in Infected. Earl Harvin’s precise drumming drives the track, with Johnson delivering a biting condemnation of power and control: “This is how the empire dies.” The song’s urgency increased the albums’ intensity which is eased by the smother, reflective tempo of  Life After Life. Johnson explores the tension between what we do in life, and what we leave undone, with the haunting refrain: “Everyone is not what they seem.”

On I Want To Wake Up With You, Johnson reveals a romantic side with the instrumentation complementing the tenderness and warmth of the lyrics. It is an intimate love song, that provides another emotional lens on life, and provide balance to the darker undertones of many other tracks.

Down By The Frozen River begins with a simple, melancholic piano, and the lyrics gradually build into a haunting narrative of isolation. Johnson’s vulnerable delivery—”Over-educated to the point of stupidity”—is underscored by minimalist instrumentation, which adds weight to its themes of loss. The next track Risin’ Above the Need, has a welcome upbeat energy led by Cadogan’s guitar.  Johnson’s sings about overcoming internal struggles over musical tension built and released by the guitar. It is a powerful song of resilience and overcoming challenges.

The surreal Linoleum Smooth to the Stockinged Foot drifts into psychedelic territory, with Sonya Cullingford’s haunting fiddle weaving through the track. Lyrics like “Eyes closed, eyes open, can’t wake up” evoke a dreamlike state, creating an experimental and atmospheric moments, based on Johnson’s experiences in hospital.

Where Do We Go When We Die? poses deep existential questions about the afterlife and Johnson reflects on the cyclical nature of life—”Rivers flow back into the seas as shall we”—capturing the quiet inevitability of our fate.

I Hope You Remember (The Things I Can’t Forget) taps into bluesy call-and-response rhythms, exploring memory, loss, and emotional baggage. Johnson’s voice, tinged with regret and longing, delivers the haunting line: “The future is closer than we think.”

The album closes on a melancholic yet hopeful note, A Rainy Day In May, where Johnson muses on fleeting encounters and life’s unpredictability: “A chance meeting on a train, will I see you again?” The subtle strings and muted guitars create a gentle, lasting emotional resonance.

In conclusion, Ensoulment is a welcome addition to The The’s discography. It’s a mature, introspective work that, while not as politically urgent as Infected or as sonically groundbreaking as Soul Mining, captures both the legacy and the future of The The. With each listen, the album reveals new layers of emotional and musical depth breadth and depth, proving Matt Johnson’s enduring relevance as a songwriter and artist. Whether you are a longtime fan or new to The The, Ensoulment offers a rich, rewarding experience.

John Bradbury

Album out today!

The album will be available in retail as Ltd. CD Hardcover Mediabook, CD Jewelcase, Black 2LP Gatefold and Ltd. Crystal Clear 2LP Gatefold.

Pre orders available now
https://TheThe.lnk.to/EnsoulmentPR

THE THE also recently announced another world tour, commencing September 2024, the band’s first since their hugely successful The Comeback Special world tour in 2018. Even before the announcement of Ensoulment, the Ensouled world tour has been selling out fast.

ANZ TOUR – NOV 2024
14 November – Auckland, New Zealand  SOLD OUT
16 November 2024 – Palais Theatre, Melbourne, Australia  SOLD OUT
17 November 2024 – Palais Theatre, Melbourne, Australia
18 November  2024 – Hindley Street Music Hall, Adelaide, Australia
21 November 2024 – Sydney Opera House, Sydney, Australia
22 November 2024 –Sydney Opera House, Sydney, Australia
23 November 2024 – Fortitude Music Hall, Brisbane, Australia  SOLD OUT
24 November 2024 – Fortitude Music Hall, Brisbane, Australia
27 November 2024 – Fremantle Arts Centre, Perth, Australia

Tickets here
www.thethe.com/tour-dates

John Bradbury
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