I’m going out of my way to write this because I can’t get over how much I’ve listened to the final two songs on I Love You So F**ing Much* this past week: On the Run and Lost in the Ocean.
Glass Animals is an English band most people know because of Heat Waves, which somehow has 3.8 billion streams. I went back through their earlier albums, and while I get why people love them, I don’t find them nearly as easy to listen to as ILYSFM. One random thing I appreciate about this album is that every song is between three and five minutes. I’ve always believed songs under three minutes feel unfinished, and if you’re asking me to sit through five-plus minutes, you’d better be giving me Scenes From an Italian Restaurant.
I didn’t just discover this album in 2026. I listened to it all the way through when it came out in 2024 and thought every track was good. Looking back, I was surprised to see the commercial reception was mixed. It peaked at No. 11 in the U.S., and a lot of longtime fans seemed turned off by the more polished, pop sound. I’m not a pussy fanboy who hates when some indie artist goes commercial. Who doesn’t like making money?
The singles—Creatures in Heaven, Show Pony, and A Tear in Space—got plenty of attention, especially on Alt Nation. But those aren’t what make this album special. The best parts are buried in the other seven tracks.
Wonderful Nothing has an incredible pace, and the payoff at the end lands every time. I Can’t Make You Fall in Love Again is one of my favorites simply because of the concept. The line, “it was never good enough, it was never good enough, it was never really you,” hits at the perfect time. If I had to nitpick, How I Learned to Love the Bomb and White Roses are probably my least favorite tracks, but they’re still songs I don’t skip.
The real reason I’m writing this, though, is On the Run and Lost in the Ocean.
According to the streaming numbers, they’re among the least-played songs on the album, which honestly blows my mind. On the Run starts quietly before building momentum that perfectly matches the title. By the time the chorus is repeating “on the run,” it somehow never gets old.
Then there’s Lost in the Ocean.
Spotify DJ randomly served it to me again last week, and it sent me right back into this album. It’s not the kind of song you’d throw on at a party or blast with your friends in the car. It’s slower than that. More reflective. Every time it comes on, though, it puts me in a better mood. I don’t even think it’s the lyrics that hook me as much as the melody and the almost “la-ti-da” pacing of it all. It just fits.
Maybe I’m completely alone on this one. But if these are the songs everyone skips, they’re missing the best part of the album.
Recent Comments