People Who Aren’t There Anymore is the 7th studio album from pop-synth band Future Islands. The project has 14 tracks and a 43:55 runtime. It was released on January 26, 2024.
People Who Aren’t There Anymore perfectly encapsulates feelings of isolation and loneliness mixed with love and hope. The vocals from Samuel Herring, while not technically impressive, have a husky rawness to them which pairs nicely with the electric sound of the synths to give an authentic feel to the music. The ambient production creates a misty soundscape which is easily to get lost into as the music evokes reminiscing. The blend of synths and electronic instruments also has a sort of understated organic quality which makes it augment the vocals rather than overpowering them as often happens in electronic music. The songwriting on the album is also excellent with many memorable melodies and hooks, which, although not the most dynamic, have a simple and timeless charm which makes the listener sit back and relax.
While the album certainly has its strong points, variety is not one of its strengths. The songs tend to sound very similar which makes the album blend together into a not unpleasant coma-like listening experience. However, its hard to pick out a bunch of unique hits from the album and makes the best songs seem less important. This minimal range in both sound and theme means that if someone does not initially like the sound and feel of the project, it is unlikely that any of the tracks will interest them.
Even though People Who Aren’t There Anymore was certainly interesting to listen to, I can’t see myself coming back to listen to the full album again though there are several standout songs that will find a place on a playlist or two. That being said, the production on the album is clearly well done and commendable. The vocals of Herring also have lots of potential and provide a good amount of emotional depth to the album.
People Who Aren’t There Anymore begins with “King of Sweden”, a driving track with a heavy beat. The song speaks to feelings of extreme reliance on a loved one and the depression that comes with being apart from them. Herring’s vocals come across loud and clear on this track and are largely responsible for its impact, even with a lackluster tune. The project continues with “The Tower” which is probably the catchiest song of all. It begins with a small motif that will easily get stuck in your head while the verse and chorus do not disappoint. Continuing on with “Deep in the Night”, the album slows down with a more contemplative song. The slow but calming melody combined with Herring’s deep voice make the track memorable. “Say Goodbye” is a fantastic relatable song about the passage of time and the fragility found in the fact that nothing material is permanent. This track has an anthemic nature, a strong beat, and a catchy chorus which makes it great for playing on repeat. Next is “Give Me The Ghost Back”, a piece which grows better on repeat listens. The songs buildup and repeated longing refrain make it deeply personal and expressive of grief and loss, even if the tune is nothing special. The album continues with “Corner of My Eye”, which certainly has its beautiful moments but lacks a distinguishing hook or memorable production making it sink into the rest of the album without making a splash. It is one of the less memorable entries on the project. “The Thief” features one of the catchier verses on the album though the emotional resonance is less strong than previous tracks. Next comes “Iris” which stood out for its simpler production which lacks the consistent synth backing. However, this is a welcome change and the songs chorus which poses several questions is a treat to listen to and makes this track stand out. “The Fight” is another slow song on the album which has some of the rawest vocals on the album. While the message of continuing to fight for meaning and love is appreciable, Herring’s vocals are not enough to save the lackluster chorus and verse which make the track somewhat tedious. People Who Aren’t There Anymore continues with “Peach” which is in a similar optimistic vein of “The Fight”, but is less a personal stand and more about standing for something. I found the message to particularly resonate. Next comes “The Sickness” which is made unique by its chorus chord progression. The production and sound design are as usual excellent and while it isn’t the catchiest tune, it is still a pleasant listen. The project concludes with “The Garden Wheel” which fittingly picks up to a driving beat. The verse of this song sounds almost like a typical pop song but the chorus is all over the place lacking a strong identity. This makes the concluding track fall short of achieving its hit potential.