For 14 years, THROAT have been the sonic equivalent of forcing a square peg into a round hole; often abrasive, causing utmost irritation at times and on a rare occasion a feverishly pleasant dose of brooding darkness in one's otherwise dull existence. The peg now fits. “We Must Leave You” sees them dropping pegs of all shape and size through the same hole. The last confines of musical genres are behind them, resulting in an album which can be regarded as the easiest listening THROAT has ever presented or simultaneously their most difficult and puzzling work to date. Thematically what we have here is a breakup album. Never ones for thinking small, THROAT breaks up with the world. Enough is enough. Bring back lockdown. No need for petty social commentary on how the world is burning. Let it burn. THROAT is already walking away and it remains to be seen where they end up next. If anywhere.

“Negative Lite” is first. It’s a short song, consisting mostly of a steady, electronic drum beat, a hypnotic guitar part, and spoken word. “Heaven Hanged” has a similar sound, but also with a bit of a catchy melody. Somber tones within the vocals and bass combine with a sweet melody line that is quite charming. For me, it has both U2 and THE CURE vibes buried within it. “The Transaction” has a sturdier sound that has Post Rock elements in it. When the band said they are like a square peg fitted into a round hole, they were not kidding. Their influences are all over the place, but their music is quite catchy, in a sober sort of way. I love the bass work, the emotive vocals, and the atmosphere they develop.

“Trepassing” has meaty bass notes and another catchy melody line. And THE CURE comes through much stronger here, but also with a tinge of Industrial and even Gothic sounds. They drive the chorus home until it sticks in your head for days. “Hearsay or Heresy” has a Quentin Teratino old school Rock sound with a simple guitar riff and low, clean vocals. It reminds me of some of the music in his films, especially Kill Bill. The band are quite adept at a variety of sounds, and so far, they are all quite pleasing. “Tiny Golden Murder” has a heavier beat that sucks you in from the opening line. It shifts smoothly into fifth gear close to the half-way mark with another sound completely, and this one has more hopeful tones.

“Valedictory” closes the album, with an electronic edge woven within the melody. The tension that hangs in the air is finally released with a bossy guitar note. Overall, this was a unique and explorative album that covered many genres. Perhaps the most common feature was how the songs were so catchy, in a somber way. Call it what you want…it has hooks for that settle in slowly until they have taken root in your psyche, and I appreciate the change of pace that the album provided to me as a reviewer.