Sound
Our Love to Admire was a departure from their dark, angular post-punk that was featured in the previous albums. Keyboards were added to the song-writing system, allowing the band to add a strong Classical aspect to their music.
We had keyboards on from the start which we've never done before. It's like a fifth member. There's a lot more texture, and interesting sounds, there's definitely progression and growth.
—Guitarist Daniel Kessler, in an NME interview.
According to band members, Our Love to Admire is more "expressive" than the group's previous efforts, and uses many more keyboards and textures. Prior to the album's release, Billboard offered the following brief descriptions of some of the band's new songs:
First single "The Heinrich Maneuver" is a peppy kiss-off to an ex-love now residing on the opposite coast and hits radio May 7; the band has been playing it of late during its just-concluded Canadian tour. The band is on familiar footing with tracks like the tense "No I in Threesome" ("Maybe it's time we give something new a try," frontman Paul Banks sings) and the relentless "Mammoth," which are loaded with Daniel Kessler's simple, repeated guitar riffs and Carlos D's powerful bass underpinnings. There are some new sonic experiments; the album begins with the funereal, nearly six-minute "Pioneer to the Falls," featuring Jim Morrison-esque crooning from Banks, and wraps with another unusually ambient piece, "The Lighthouse." Hints of soul creep in on the spaced-out "Rest My Chemistry" ("I haven't slept for two days / I've bathed in nothing but sweat," Banks sings) and "Pace Is the Trick."
—Billboard article on the band's upcoming release.
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“He hath a heart as sound as a bell and his tongue is the clapper, for what his heart thinks, his tongue speaks.”
—William Shakespeare (1564–1616)
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And that was my long scythe whispering to the ground.”
—Robert Frost (1874–1963)
“Every now and then, when you’re on stage, you hear the best sound a player can hear. It’s a sound you can’t get in movies or in television. It is the sound of a wonderful, deep silence that means you’ve hit them where they live.”
—Shelley Winters (b. 1922)