This beautiful music throughout is categorisable as postpunk, though side B possesses the arid splendour for which Constellation Records is known and loved: there’s a sense of borders crumbling as the anarchic energy overspills. Still, casual listeners may consider Ought derivative, but here’s why they’re wrong.
Lyrically and tonally, More Than Any Other Day is by and large very listenable, which isn’t commercial capitulation but rather a rejection of rejection. Steeped in the postpunk aesthetic, a well-established rock style that nonetheless remains richer and deeper than any other in formal possibilities, this is a record that conflates doubt and optimism while at surface remaining aggressively articulate.
You can align it with metamodernism, a cross-form phenomenon recently fomented in Europe and North America that applies post-postmodern theory to middlebrow art. Marrying self-aware humour and ‘spiritual exultation’, the movement aims to pierce our thin ironic forcefield and recover a vulnerability we never really lost, while also freeing phrases like ‘life-changing’ and ‘spiritual exultation’ from the tyranny of scare quotes.