The Hum, whilst sounding very different, is very much a continuation of Pearl Mystic, and absolutely does not disappoint.
Whilst the debut got tongues wagging, the follow up is sure to get hearts pounding – a superb collection of tracks that points to a band that knows where it’s going.
There is no showboating or ostentatiousness on ‘The Hum’; it’s a different record to ‘Pearl Mystic’, but also a logical continuation and, in some ways, a companion piece.
The Hum is a shattering, all-encompassing experience; there's climactic rage, broken organs and blank-eyed trance outs.
The songs have a widescreen, cinematic sound to them, but remain very much the band's own; they sound like hat-tips to the likes of U2 and Springsteen, drenched in reverb-laden guitars and obfuscated with selective distortion.
Perhaps the most noticeable feature of The Hum is how complete it feels once it’s over. There are no wasted notes, no wasted time, and nothing but the impulse to listen again. True to their name, Hookworms are infectious – in the best way possible.
One reason The Hum feels distinct from the surfeit of psychedelic music finding its way to ears in 2014 is because Hookworms understand the importance of a niche.
On The Hum, this delicate balancing act between abrasive aggression and unfettered tunefulness positions Hookworms as an uncompromising experimental act with festival-sized ambitions, capable of synthesizing disparate and often contradictory sounds into a cohesive and compelling whole.
If their debut showcased a tendancy to shroud vocalist MJ’s deranged squeals in obfuscating reverb, this time he’s foregrounded, giving proceedings a cleaner focus – indeed, songs take precedence this time, rather than exercises in slowly-mounting tension and delirious release.
By progressing onwards from the murk of their debut into a cleaner, snappier territory, Hookworms have managed to remain thoroughly the same band, without a hint of stagnation or water treading.
The entire record is a small step forward from the sometimes unfocused sound of that first album, and really crystallizes the group's strong points in a way that's almost fun to listen to.
The beauty of the band’s second album, The Hum, is how effortlessly they make the blitzkrieg and the bliss seem like complementary rather than conflicting ideals.
The measured economy of The Hum is a natural transition from the more dense Pearl Mystic, and the steady, workmanlike approach works to their advantage even if there’s few surprises.
This is top-notch psychedelic rock, in so many ways better than all those ancient bands and songs it’s built upon, but it’s presented in such a garbled way that the songs often lose their impact. Listen to them in isolation or divided by their styles and you can’t go wrong, but avoid listening to the album straight through.
The Impasse 98 (+)
On Leaving 94
iv {86}
Radio Tokyo 97
Beginners 97
v {88}
Off Screen 88
vi {82}
Retreat 97
{} = IGNORING, for now.
[95], or [92] if I counted the ratings of the interludes
| 1 | The Impasse 2:42 | |
| 2 | On Leaving 6:02 | |
| 3 | IV 2:58 | |
| 4 | Radio Tokyo 4:01 | |
| 5 | Beginners 6:36 | |
| 6 | V 0:39 | |
| 7 | Off Screen 7:37 | |
| 8 | VI 1:31 | |
| 9 | Retreat 5:48 |
| #13 | / | Time Out London |
| #18 | / | Drowned in Sound |
| #19 | / | The Skinny |
| #31 | / | Rough Trade |
| #42 | / | NME |
| #45 | / | musicOMH |
| #55 | / | Under the Radar |
| #61 | / | Crack Magazine |
| / | The Line of Best Fit |