With Lament crowned Pitchfork’s Best New Album in 2020, Touché Amoré set the bar high for their upcoming release, Spiral in a Straight Line. Forming in 2007, the post-hardcore group has consistently made waves in the scene, earning critical acclaim for each of their four previous studio albums. While they re-recorded and re-released their debut album in 2019, the band’s last original work came out in 2020 with Lament.
Though their earlier material is still highly regarded, it’s undeniably heavier and more aggressive compared to their current sound. Once again working with producer Ross Robinson, who also produced Lament, they’ve crafted a unique and deliberate sound on this new album. The production is top-notch—each track feels clean and intentional—but we still get those heavy, desperate vocals that Jeremy Bolm delivers with such intensity.
Having not listened to any of the pre-released singles, the opener, “Nobody’s” really caught me off guard. For some reason, my expectations weren’t that high—I think Lament was so great I couldn’t see how they’d top it—but from the first note, I was sold. What I love about this album is that on my first listen, every track was vying for the top spot as my favourite. The first three songs- “Nobody’s”, “Disaster” and “Hal Ashby’s”, feel seamless, almost like three parts of the same piece. Not that they sound identical, but they all carry the same urgency in tone.
“Force of Habit” slows things down with stripped-back, soft instrumentals, contrasted by Bolm’s shouting vocals. “Mezzanine” is fast-paced and anxious, driven by an energetic beat. There’s a lot happening on this track, but it all comes together. I can easily see this becoming a fan favourite, especially since it leans towards the heavier side. The bridge is a standout moment, with the tempo shift and vocals turning more ballad-like.
“Altitude,” “This Routine,” and “Finalist” are all big, solid tracks. While they’re great, they do tend to blend into one another for me after a few listens, which isn’t necessarily a bad thing, especially given how short each track is. “Finalist” stands out a little more, thanks to its grungy guitars and catchy, feedback-heavy riff. It’s quite melodic, and the breakdowns before the chorus are a real highlight.
“Subversion” is one of the album’s most beautiful moments. Featuring Lou Barlow, the vocal contrast is refreshing, and the track itself is just gorgeous. The cleaner guitar tones and softer vocals create an eerie atmosphere, and the overlapping vocals between Barlow and Bolm are *chef’s kiss*. This is easily one of my favourites. “The Glue” is another solid track, a big burst of energy that strips right back halfway through, creating a nice dynamic.
“Goodbye For Now” features Julien Baker of boygenius and gave me full-body chills. The intro alone will have you picking your jaw up off the floor. Baker’s collaboration with Touché Amoré isn’t new—she’s worked with them before, and they’ve shared the stage numerous times—but her more subdued vocals add something special to this track. She carries the bridge beautifully before Bolm jumps back in for the climactic build-up. It’s a fantastic pairing.
Although I initially had low expectations for this album, it only took one listen to change my mind. Teaming up with Ross Robinson again was a smart move, as the record flows effortlessly from where Lament left off. Spiral In A Straight Line is tight and to the point, delivering a lot of passion in its 32-minute runtime without overstaying its welcome. It’s packed with energy, and many of the tracks take creative risks that pay off. Each listen reveals something new—there’s a real intricacy here, despite the album’s brevity. I genuinely loved this record, and I hope you do too.
FIVE STARS (OUT OF FIVE)
Spiral In A Straight Line is out now – grab a copy HERE
