Synthpop, minimal wave, post-punk, goth, new romantic fans and critics alike have dug deeply into their vintage thesauruses to describe the beguiling work of Nation of Language. And if you cant precisely define the band, thats the point. Frontman Ian Richard Devaney has become prodigious in expanding what synthesizer-driven music can evoke, such that his output is as much an extrasensory journey as it is an all-too-human destination. With that experience in mind, he wrote the bands fourth album the spectral, spacious Dance Called Memory in the most humble of ways: chipping away at melancholia by sitting around and strumming his guitar. Nation of Languages first two albums, Introduction, Presence (2020), and A Way Forward (2021), came as pandemic godsends: gorgeous, relatable soundtracks to our collective doldrums. But it was their last LP, Strange Disciple (2023), that catapulted the group from cultural standouts to critical darlings, with the album being named Rough Trades Album of the Year. With that release, Pitchfork wrote that the band are learning what it means to get bigger and better. This is Devaneys calling: soulfully translating individual despair into a comforting, collective mourning. The single Now That Youre Gone, which radiates and reverberates with a devastating wistfulness, was inspired by witnessing his godfathers tragic death from ALS, and his parents role as caretakers for this ailing friend. At its heart, the song is a reflection of how friends can be there for each other, and also highlights a theme throughout the record: the pain and lost promise of friendships that fall apart. On Dance Called Memory, the band once again collaborated with friend and Strange Disciple producer Nick Millhiser (LCD Soundsystem, Holy Ghost!). Whats so great about Nick is his ability to make us feel like we dont need to do what might be expected of us, says synth player Aidan Noell, who, along with bassist Alex MacKay, rounds out the Nation of Language lineup. They imbued Dance Called Memory with a shifted palette sampling chopped-up drum breaks on Im Not Ready for the Change for a touch of Loveless-era My Bloody Valentine, or smashing all of the percussion of In Another Life through a synthesizer to cast a shade of early-2000s electronic music. Ultimately, the hope was to weave raw vulnerability and humanity into a synth-heavy album. There is a dichotomy between the Kraftwerk school of thought and the Brian Eno school of thought, each of which Ive been drawn to at different points. Ive read about how Kraftwerk wanted to remove all of the humanity from their music, but Eno often spoke about wanting to make synthesized music that felt distinctly human, Devaney says. As much as Kraftwerk is a sonically foundational influence, with this record I leaned much more towards the Eno school of thought. In this era quickly being defined by the rise of AI supplanting human creators Im focusing more on the human condition, and I need the underlying music to support that Instead of hopelessness, I want to leave the listener with a feeling of us really seeing one another, that our individual struggles can actually unite us in empathy.