Their third album and first for Merge.Weißes Vinyl,  140g Vinyl LP im Klappcover! Room Inside The World, das dritte Album der Bandgeschichte und das erste auf Merge, erforscht Themen, die OUGHT schon immer beunruhigt haben – Identität, Zusammenhänge, Überleben in einer prekären Welt – aber mit Hilfe einer wesentlich mutigeren und mehr nuancierten Bandbreite an Sounds.

Aufgenommen mit dem Produzenten Nicolas Vernhes (Deerhunter, Animal Collective, Silver Jews) im Rare Book Room in Brooklyn, zeugt Room Inside the World von neu gewonnener Geduld.

Ought haben zusammen ein digitales Moodboard erstellt, um ihre jeweiligen Intentionen zu verdeutlichen: Brian Eno und Stereolab Synths, das 1985er Album Fear and Whiskey der Mekons, Gerhard Richter und Kenneth Angers sexy fluoreszierende Hyperrealität – alle schafften es in den Schmelztiegel.

Eingeigelt in ihr Proberaumgebäude, ein industrieller Block ( und Sockenfabrik), die den Trans-Canada Highway überblickt, strebte die Band nach größerem Detail und Spezifität als bisher.

Dabei blieben sie dem Kollaborativ und dem intuitiven Schreibstil treu, der schon ihr früheres Werk prägte.

Vibraphon, einwandfreie Synthesizer, Drum Machines und ein 70 köpfiger Chor unterfüttern die präzisen Post-Punk Breakdowns.

Diese schmückten auch schon die vorherigen zwei Alben von Ought, verursachen diese emotionale Komplexität und verleihen ihrem charakteristisch straffen Sound noch mehr Tiefe.

On Room Inside the World – Ought’s third album and first for Merge – growing up doesn’t mean mellowing out so much as it means learning to pay attention, listening carefully and openly, staying somewhere long enough to really understand where you are. Recorded at Rare Book Room in Brooklyn with producer Nicolas Vernhes (Deerhunter, Animal Collective, Silver Jews), Room Inside the World explores themes that have always concerned the band – identity, connection, survival in a precarious world – but with a bolder, more nuanced sound palette. Vibraphone, justly intonated synthesizers, drum machines, and a 70-piece choir suffuse the precise post-punk breakdowns that spangled Ought’s first two albums, giving rise to an emotional complexity that pushes their characteristically taut sound to greater depths. Ought approached this record with newfound patience, constructing a (digital) moodboard to set their intentions: Brian Eno and Stereolab synths, the Mekons’ 1985 album Fear and Whiskey, and Gerhard Richter and Kenneth Anger’s sexy, fluorescent hyperreal all made it into the melting pot. Holed up in their rehearsal building, an industrial rock block (and sock factory) overlooking the Trans-Canada Highway, the band strove for greater detail and specificity than before while remaining true to the collaborative, intuitive writing process that yielded their earlier work. On Room Inside the World, Ought gnaw at questions that have hovered around their music since they first began playing: How do you live in this world without destroying yourself? What is it that we can do for each other to make the lives we’ve been given easier? Room Inside the World steps away from the nervousness and irony that characterizes Ought’s previous records. Instead of winkingly asking you to open your textbooks, as on More Than Any Other Day, here they’re imploring you to look inside yourself and then around you, to tease out and melt away the barriers that keep people separated from one another. It makes for a different kind of catharsis: the quiet satisfaction of a job well done, the glow of seeing someone as they are, the soft simmer of real love. It’s like finding a space inside the world where you can sit down for a bit, a room where there’s room enough for everyone. The record ends on a comma, a quick fade, a sharp intake of breath, and you find yourself right back where you began.