In a parallel universe, debut album ‘Everything Fall’ would have brought Come On Live Long international recognition and a worldwide audience. Oft-overlooked, and more than a match for the potential shown on their early EPs, the album married indie, folk and electronic sounds with a tuneful understatedness.

While the album did not make an impact on a global scale, it earned the Dublin-based four-piece glowing reviews and an esteemed place amongst their contemporaries in the Irish music scene. The group however strayed from the path; moving apart from one another sparking a four year period without any output whatsoever which saw the momentum built from such a strong beginning start to wane.

2017’s ‘In The Still’ serves as more than a welcome return to form; it is a significant growth. Despite the aforementioned four year gap, or perhaps in spite of it, there is a discreet conviction to be found in this decade of songs that displays a devil-may-care nonchalance towards commercial triumph and a dedication to developing the band’s sonic aesthetic.

This is no more evident than on Bones To Break and For The Birds, which tips its hat to contemporary R&B with its propulsive rhythm and on the stark, soft and sentimental tracks like My Love Leaves and the shoegaze-like closing track, Trough. With that said, ‘In The Still’ is still steeped in the low-key anxious undertones of their debut opus, especially in lyrics like Little Hedgehog’s opening statement “There’s a wall to climb / And it’s neither mine or yours”.

Elsewhere, songs start with hesitant murmurs before building to a bold crescendo and a strong, persistent desire, brimming with electronic and ethereal sounds on Sum Of Its Parts and Peak, with co-vocalists Louise Gaffney and Robert Ardiff wrapping themselves around songs like snakes on a branch.

Global supremacy seems unlikely for Come On Live Long at this point, but increasing self-assuredness and records soaked in replay value are almost a guarantee. The proof, is ‘In The Still’.