After the passing of founding member David Andersson in 2022, the future of The Night Flight Orchestra was uncertain. Andersson had always been a key element of the group’s songwriting, as well as a dynamic part of their live shows. Nonetheless, the eight-piece have pressed on, recently coming out with new record ‘Give Us The Moon.’ Frontman Björn Strid has stated that, by recording at the familiar Handsome Hard Studios, the group had hoped to capture their former-bandmate’s spirit— NFO succeeded in spades, with the new record bringing all the catchy choruses and bouncy rhythms fans have come to expect. There’s a price to pay for such a success though, as ‘Give Us The Moon’ sees the band’s tried-and-true formula wearing thinner than ever, resulting in, arguably, their most ho-hum release to date.

From lead single ‘Shooting Velvet,’ it was clear that the band’s mastery of bright, catchy melodies and infectious hooks hadn’t budged an inch— rather, the group are just as capable of writing ear-worms as they were on ‘Internal Affairs,’ all the way back in 2012. From its dazzling synth and guitar tones to its carefree drumming, ‘Give Us The Moon’ is full of the same whimsy that has defined the NFO discography, seeing the band leaning further into their disco influences than ever before. Lönnmyr’s keyboards and the backing vocals from Brygård and Lundman take up a greater space in the mix than ever before— really, it’s the crime those soprano harmonies have always been so buried in the past— though they often give way to a plethora of cute melodic guitar solos, which crop up unusually frequently on this release. 

Despite these superficial differences, however, ‘Give Us The Moon’ is mostly a continuation of The Night Flight Orchestra’s signature style. The album saunters between its tracks with the same easy-going energy the band has always embodied, relying on its strong performances and catchy hooks to keep the listener engaged. On the former point, NFO are flying as ever— Strid’s soaring tenor vocals carries songs like ‘Paloma’ and ‘Runaways’ to triumphant finishes, while the rest of the group sit in a comfortable groove from start to finish. Even newcomers Lundman and Erhnborn fit in seamlessly, cementing the album as a profoundly easy listen.

And just like past records, the band have certainly managed to craft some top-tier ear-worms for us this time around, showcasing how Strid and co. have catchiness down to a science. Whether it be the flamboyant chord changes of opener ‘Stratus,’ the driving chorus of ‘Melbourne, May I?’ or the all-around fantastic songwriting that makes up standout track ‘A Paris Point Of View,’ the group are clearly in their element where memorable hooks are concerned. Special attention is also deserved from ‘Cosmic Tide,’ which sees the group diving into an odd signature— uninteresting at that sounds, it does wonders to spice up the song, which feels energetic and spritely as a result.

It must be said, though, that an uncanny feeling of ‘been there, done that’ persists throughout ‘Give Us The Moon,’ leaving the new album feeling like a fairly inessential addition to the band’s discography. NFO have never been the most innovative of experimental group, granted, but the slow introduction and exploration of disco elements has always kept each subsequent release feeling exciting and fresh. On ‘Give Us The Moon,’ the well is finally running dry. For as fun as cuts like ‘Stratus’ may be, the similarity to ‘White Jeans’ feels inescapable at times, while many of the record’s slower cuts can feel like a poor facsimile of past hits. In a way, the group painted themselves into a corner by perfecting the catchy disco-rock formula on ‘Aeromantic II’— more than three years later, these same sounds are still enjoyable, but have lost their lustre somewhat.

For a disappointing amount of the runtime, the record meanders in some of The Night Flight Orchestra’s least inspired material yet. Sluggish tempos and a general lack of motivation drag down the otherwise catchy melodies of ‘Runaways’ or ‘Paloma,’ although the latter does benefit from touching lyrics concerning toxic relationships. The more underwhelming cuts can be found in the instantly-forgettable ‘Miraculous’ and the by-the-numbers title track, which see the band adhering so strictly to their formula as to border on self-parody. Even the record’s finisher— the seven minute behemoth ‘Stewardess, Empress, Hot Mess (And The Captain Of Pain)’— wanders off to a disturbing degree, spending its final few minutes building to a climax that never comes. For as much as the group marketed this latest release as their ‘most cinematic yet,’ the album rarely reaches the lofty heights its aviatory theming would suggest.

The Night Flight Orchestra have always been a highly consistent band, and even a below-average release from them has its moments— ‘Cosmic Tide,’ ‘A Paris Point Of View,’ ‘Way To Spend The Night’ and more prove that the band have still got it, delivering all the catchy goodness fans want from the eight-piece. Between these standout moments though, it’s clear that the group are running on empty, leaving ‘Give Us The Moon’ feeling like a stop-gap release. No doubt we’ll be excited for the next NFO project— regardless, the fact remains that a substantial overhaul would do the band well, as the sparse moments of reinvention on this latest album do little more than hint at what could’ve been.