This is a really tight record that says everything we need to say at the moment.” From the anthemic anger and driving resignation of “Heart of An Animal” to the swoony, swerving, epic first single, “The Worst In Us,” Lovers Rock is the sound of The Dears topping themselves yet again, an accomplishment borne of ambition, hard work and a strong sense of identity. There are also certain sonic and aesthetic parameters, within which the music can be both unsettlingly experimental and impossibly lush: part Bacharach, part Krautrock.
If The Dears have always made apocalyptic love songs for an existential crisis, there are also other constants, starting, of course, with the band’s two core members for two decades: Lightburn and Yanchak. We don’t know what’s going to happen next.’ Now it’s a doom that’s within our grasp. “Around 2001, it felt like, ‘We have no control. “You could go straight from Lovers Rock to No Cities Left and it’s like they’re interlocked.
“There’s a direct line between the sort of doominess of No Cities Left and this album,” says Lightburn. Nearly two decades later, as Murray Lightburn and Natalia Yanchak began work on the band’s eighth album, Lovers Rock, well… as the meme says, “This Is Fine.” When The Dears released their breakthrough album, No Cities Left, in 2003, it was a crepuscular, romantic soundtrack to uncertain times.
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