In the two months since we have provided an update here, lots has transpired relative to new underground rock releases. Firstly, we do implore you to listen to the latest records from both High Vis (Guided Tour) and Drug Church (PRUDE), as both records are great documents of both bands further fleshing out their respective sonic characters with a strong crop of new material. While both of these records have occupied a portion of our interest level in new releases, the majority of our efforts have been focused towards following The Cure’s expansive rollout of Songs of a Lost World, the group’s first new studio LP in sixteen years. When we last checked in with you all, the band had only begun teasing portions of what went on to become the album’s lead single and opener (“Alone”). If we had known what this album would become/represent in the wider pantheon of The Cure’s legacy, it would have proven to be a tougher subject to cover.

Reality is, Songs of a Lost World represents the end of an era for The Cure, but not their career. Robert Smith has confirmed the group plans to play live extensively and potentially release another album before the band's ultimate demise in 2029, which will mark 50 years since the release of the band’s 1979 debut, Three Imaginary Boys. Knowing this all, Songs of a Lost World plays out not as a goodbye, but a cognitive realization of where Robert Smith finds himself decades into his band’s career. Lyrical themes of reflection, aging, and loss may seem like standard fanfare for The Cure, but Smith wholeheartedly embraces these themes on Songs of a Lost World with fantastic new material and perspective. We will not be diving deep into lyrical content ourselves, as Smith has openly discussed his lyrical intent via a nearly two-hour interview which we recommend viewing. Beyond the significance of being a new release, deep into a well-beloved catalog in the sphere of alternative music, how exactly does Songs of a Lost World fit into The Cure’s story?

Admittedly, we were a bit unsure what to expect upon first listen. While the band’s work throughout the 80s and early 90s speaks for itself (Imagine making sheer post-punk classics for the first third of your career, only to further evolve those sounds and concepts to produce Disintegration?! Neither can we), much debate and contention comes when discussing the band’s run of albums throughout the 2000s. Though 2000’s Bloodflowers has its share of supporters (hello!), 2004’s self-titled and 2008’s 4:13 Dream have often been critiqued for being victims of self-parody and half-baked material. While spending time debating the vitality of records produced some 20 years ago seems daunting (especially considering we have a new album to discuss), one thing that is uncontestable is The Cure’s miraculous ability to always deliver some of the best live shows around. Headed into Songs of a Lost World, we personally wanted a batch of songs that embraced and captured the connection Smith & bassist Simon Gallup have developed with the band’s modern incarnation (guitarist Reeves Gabrels in particular, making his first full studio album contribution with Songs of a Lost World).

Having listened to Songs of a Lost World many times in full, were The Cure able to both fulfill our desires as listeners and create a new body of work that is worthy of feature among their acclaimed back catalog? Yes. Unquestionably, yes.

Singles “Alone” and “A Fragile Thing” keyed us into the Disintegration-esque atmosphere that Songs of a Lost World has going for it. The waves of sound provided by “Alone” are authentically reminiscent of “Plainsong”, while the comparatively structured nature of “A Fragile Thing” comes across as a matured take on “Lovesong”. Comparisons aside, both singles are the sound of a band that has gelled into an indestructible/inseparable gang. Similar to The Cure at their arguable live peak (1993’s Show), the sixteen years that were spent playing live prior to Songs of a Lost World has enabled the modern incarnation of the band to play and write with the same level of confidence and nuance as decades prior. Truly incredible, this is!

“And Nothing Is Forever” sees the band reaching into their most cinematic capabilities, which has historically produced some of their most awe-inspiring moments (“One More Time”, “Sinking”, etc.). “And Nothing Is Forever” is worthy of existing amongst their best, via its gorgeous string arrangement and Smith’s impassioned vocal performance. Now 65 years old, Smith’s vocals on record sound as good as ever. Gone are the overtly angsty performances from 2004’s self-titled album… Smith truly sounds at home with this new material! Even when the album leans into heavier aspects of The Cure’s sound with “Warsong” and “Drone:Nodrone”, Smith flawlessly pivots his delivery to fit what these songs necessitate. “Drone:Nodrone” comes across similar to some of the more intense moments on Wish, much credited to the explosive leadwork of Reeves Gabrels. For his first album-length contribution to The Cure, Gabrels makes his contributions felt across the record in a welcoming way! “Warsong” is the closest you will get to a Pornography-era Cure song in 2024 without traveling back 40 years, which is miraculous considering how different of an entity The Cure is in 2024. 

“I Can Never Say Goodbye”, “All I Ever Am”, and sprawling closer “Endsong” are the most emotionally poignant and immediately consuming moments of Songs of a Lost World. Smith’s reflection on personal loss and modern-day existence are clearest on “I Can Never Say Goodbye” and “All I Ever Am”, while epic “Endsong” sees Smith riffing on the world in which he and his band exist in presently. While speculation of this LP being the band’s last loomed in the lead-up to its release, “Endsong” appeared to be the potential epitaph for the group. However, knowing the band plans to forge on for the next five years, “Endsong” is more of a defining statement from Smith on his attainable future as an artist and human being. While the world both he and The Cure exist in has significantly changed since their formidable years, there is still relevant work to be done and music to be made. 

If any evidence besides the quality of Songs of a Lost World is needed to justify The Cure’s modern existence, we implore you to watch the album’s release show from The Troxy in London. A note-perfect rendition of Songs of a Lost World in its entirety pairs perfectly with a near two-hours of beloved material from previous albums. While it may seem insane to call The Cure a “vital” group decades past their initial impact, we are happy to report this is indeed the case.

Songs of a Lost World is available everywhere now. Cherish it.

For their first time playing Hamden’s Space Ballroom, The Chameleons performance of Strange Times in full will be remembered for decades to come by all its attendees. 

If you’re a regular reader of Noise Is Power Music, you are likely aware that we are Chameleons devotees. Moreso, Strange Times devotees. When we learned the band would be playing the album in its entirety (with original guitarist Reg Smithies in tow), we were ecstatic. To see one of post-punk’s greatest groups in one of Connecticut’s best venues?! Count us in. 

Joined by darkwave duo A Cloud Of Ravens, their opening set harkened back to the primitive-yet-bombastic feel of early Sisters Of Mercy. Maybe a cliched comparison, but we feel it is a warranted one! Nonetheless, …Ravens did a fantastic job of setting the stage for what was to come a mere half hour later. Promptly taking the stage, Mark Burgess and co. wasted little time working their way through the group’s 1986 masterwork, Strange Times.

Elongated instrumental sections of “Caution”, “Tears”, and “Soul In Isolation” made for true performance highlights. Burgess notably interpolated songs from The Doors, Buffalo Springfield, and The Beatles into the middle of “Soul In Isolation”, which was rather genius and felt like a seamless integration. The anthemic “Swamp Thing” was played to perfection, as Reg Smithies teased the crowd with its now-iconic opening riff to whispers of adoration from the packed Space Ballroom crowd. I would rather shy away from using the phrase “cinematic” here, but that is truly how their performance of “Swamp Thing” felt. Needless to say, we (the crowd) were more than privileged when we realized there was still half of Strange Times to be performed. 

Taking a brief pause to express the importance of fleeting moments and time to the crowd, Burgess guided the band through a wonderful rendition of “Time (The End Of Time)”, which bled perfectly into the trifecta of “Seriocity”, “In Answer”, and “Childhood”. By the time the spacey atmosphere of “I’ll Remember” concluded the band’s performance of Strange Times, we were simply at a loss. How would the show continue and not feel like a comedown after that?!

“Ever After”.  

Recorded during the Strange Times sessions, The Chameleons dusted off this rarity and paired it alongside their latest (and great) new single, “Where Are You”. This concluded the main part of the set, before the band returned for a crowd-pleasing encore. As much as we personally love Strange Times, many audience members were patiently awaiting cuts from the band’s debut, Script Of The Bridge. Not to spoil, but the encore provided that in spades.

An institution in songwriting, the poignant “Second Skin” and rousing “Don’t Fall” marked the end of The Chameleons’ CT debut. We were fortunate enough to wish Mark Burgess well on the rest of their tour as we departed the gig (as CT was only their second date), impatiently waiting for the band’s return.

Future The Chameleons tour dates can be found here.
Get to these shows by any means necessary.

Throughout the 1990s, Beth Gibbons established herself as one of the more impassioned and soulful vocalists of the decade. Leaving the sample-heavy character of her work with Portishead behind, Lives Outgrown is a refreshing collection of tracks that see Gibbons reflecting on years past with naturalistic overtones.

Most fans of classic alternative music would be remiss to not own a copy of Portishead’s opus, Dummy. For many, Dummy is the archetypal trip hop LP. The unique combination of Adrian Utley’s blues inspired guitarwork (“Glory Box” is a legendary performance), evocative sample curation, and Beth Gibbons’ fragile delivery made their debut LP a thing of legend and mythos. Releasing two more albums before dissolving in the late 2010s, rumors/demand for a solo album from Gibbons became prevalent. Now, sixteen years removed from the last Portishead release, Lives Outgrown introduces both new instrumental palettes and lyrical themes to Gibbons iconic vocal style. While the material on Lives Outgrown is mainly acoustic-based, it perfectly suits the intimate and honest nature of the lyrical narratives of these songs.

Throughout Lives Outgrown, Gibbons openly reflects on aging and mortality in a very eloquent fashion. Album opener “Tell Me Who You Are Today”hints at these themes, which lets both “Floating On A Moment” and “Burden Of Life” serve as the first indications of the album’s main themes. “The burden of life just won't leave us alone / And the time's never right when we're trading the soul” serves as an inquisition to simply why life can take unpleasant turns, which Gibbons delivers in an entrancing way. Though the Portishead sound was certainly a combined effort amongst the group’s three members, Gibbons has managed to retain a similar sense of yearning and emotion with her vocal performances. 

“Rewind” may be the closest Lives Outgrown comes to delivering a Portishead-esque tune, but the tribal drum pattern that drives the instrumental suggests otherwise. The song’s refrain sees Gibbons declaring that we (Gibbons and the listener as a collective) have “Gone too far to rewind”, which is never specified as either a good or bad thing. What makes Lives Outgrown such an interesting listen is the way Gibbons tackles themes of mortality. On tracks like “Rewind” and “For Sale”, these themes are written about in a way that leaves it up to the listener to interpret. Walking a fine line between directness and ambiguity can prove to be difficult, but Gibbons figured out a way to make it happen. For that fact alone, Lives Outgrown should be one of your next listens.

Much credit is also owed to producer James Ford, commonly recognized for his work with Arctic Monkeys and later-era Depeche Mode. The folk-leaning instrumentals of Lives Outgrown are sparse enough to let Gibbons' lyrics make their mark, but the low end weight of these tracks are never compromised as a result. As a longtime fan of Beth Gibbons, Lives Outgrown certainly feels like the record she should have made at this stage in her career. There is no clear attempt to revisit the past, but the new musical aesthetics introduced on the album do hint at/highlight elements that made records like Dummy fantastic. To summarize, Lives Outgrown was definitely worth the wait!

Have you heard this record? If not, go listen and tell us what you think! If you have listened, comment your thoughts below!

On “Starburster”, Fontaines D.C. turns in a mostly successful blend of the experimentation present on Skinty Fia with the exuberance of their early work.

Well, it is official! After heavy rumoring of new material, Fontaines D.C. have released the first single off their upcoming album. Set to release on August 23, Romance will serve as the band’s first release on XL Recordings. As longtime members of the Partisan Records roster, the jump to XL Recordings comes along with new personnel for the band as well. Romance (and its single, “Starburster”) was produced by James Ford (Blur, Arctic Monkeys), who did a great job at helping Fontaines D.C. capture precisely where the band is on record. Judging by “Starburster”, we predict Romance to be a build on some of the more abstract concepts brought forth on 2022’s Skinty Fia. Referencing back to our original review of Skinty Fia, it seems as if Fontaines D.C. are gearing up to deliver us the follow-up record that we wanted:

“[Skinty Fia] certainly has its highlights along with its missteps, which leaves me hoping that Fontaines can find a perfect balance between the new ideas presented on Skinty Fia and their previous work down the line.”

Though only one track, “Starburster” is a great early look into what our original thoughts could/likely will sound like.

While the driving post-punk instrumentals that defined 2019’s Dogrel and 2020’s A Hero’s Death have morphed into a Primal Scream-esque palette for “Starburster”, the same outward facing confidence that sold those records is back on “Starburster”. Not to say that Skinty Fia did not have its moments of defiance and confidence, but it was certainly the band’s most introspective release to date. On “Starburster”, the swagger that frontman Grian Chatten brought to his debut solo album (2023’s Chaos For The Fly, our favorite album of its respective release year) has certainly been rekindled on this track. Is Grian’s lyrical approach to “Starburster” as cinematic as anything on Skinty Fia or Chaos For The Fly? No. That said, it meshes perfectly with the semi-frantic instrumental of the tune. 

If anything, “Starburster” has accomplished its job at getting us excited for another Fontaines D.C. record. We look forward to covering any future singles and diving into another chapter of the band’s story.

In discussing the legacy of Modern English’s material, we have been known to define it as a catalog that ages gracefully. After listening to the group’s newest album, 1 2 3 4, we are happy to report our estimation has remained truthful.

Apart from the single “Long In The Tooth”, our first taste of 1 2 3 4 came in the form of the band’s KEXP live session. Featured alongside an energetic rendition of “I Melt With You”, the band debuted two additional tracks from the then-forthcoming 1 2 3 4 album (“Genius”, “Crazy Lovers”, first recorded performance of “Long In The Tooth”). Upon release of the KEXP session, we incessantly replayed the live versions of these tracks, impatiently awaiting the record’s official release. By the time we caught Modern English at the Space Ballroom (Hamden, CT), frontman Robbie Grey directly asked us (from the stage) how we were able to sing along to their performance of “Crazy Lovers”, as the tune had yet to be officially released as a single.

“KEXP! Love that song… When’s the record coming out?!”, we replied with eagerness. Having now heard the entirety of the band’s latest offering, we cannot help but give it a glowing endorsement.

Looking past the undeniable energy of opener “Long In The Tooth” (One of our favorite releases from 2023), the anthemic “Not My Leader” does a great job at keeping the album lively while delivering Modern English’s refined sense of pop-infectiousness. Being the band’s first new release in nearly a decade, it truly feels like no time was lost! The same can be said for “Not Fake” and “Exploding”, which begin to reveal the moodier/introspective side of 1 2 3 4. Lyrically, the record sees Grey reflecting on pre-established political and societal constructs, though never venturing off into a plateau of sameness or parody. Now a veteran of his craft, Grey simultaneously guides Modern English through some of their most intense and blissful material across 1 2 3 4. The post-apocalyptic instrumental of “Exploding” (featuring a wonderful bassline courtesy of Michael Conroy!) sounds at home with “I Know Your Soul”, our pick for hypothetical fourth single. Through it all, Grey’s versatility as a frontman keeps the album’s sonic variety feeling like a well-curated collection of tunes. 

The majority of 1 2 3 4 sees Modern English playing to their strengths as a post-punk institution, until the welcomed experimentation of the closing track, “Voices”. Aptly titled, “Voices” is a mainly a capella tune that blends Modern English’s trademark sound with Pet Sounds-era Beach Boys harmonies. Tackling intense themes of detachment and disillusionment, the understated instrumental approach to “Voices” makes for an unpredictable and cool way to finalize an excellent album. For any fans of post-punk and music of the alternative variety, be grateful that bands like Modern English are still capable of writing great, new music. Over 40 years since the band’s initial formation, they have continued to cement their legacy as one of the greats with 1 2 3 4.

Closing a week rich with new releases, we have decided to dedicate today to covering all that we were able to listen to! To summarize, there is no shortage of great new singles and upcoming releases to look forward to. Check out some of our thoughts below:

Beth Gibbons - “Floating On A Moment”

What needs to be restated about the greatness of Beth Gibbons? Her voice is directly responsible for making Dummy and Portishead’s catalog an essential piece of the 90s alternative puzzle. Her 2002 collaboration with Rustin Man (Out Of Season) served as her first non-Portishead release, though her upcoming album (Lives Outgrown, out May 17 via Domino) will be her first true solo release. Decades into her career, Gibbons has successfully hit on something new while playing to her strengths. The vocals of “Floating On A Moment” exhibit a delicacy that is classically Gibbons, only now accompanied by a primal instrumental that still has enough low end to propel it forward. Lyrically, Gibbons’ commentary on aging and mortality is the definition of authentic reflection.

​For all these reasons, “Floating On A Moment” is our favorite release of the week. May 17 cannot come soon enough!

Higher Power - “Absolute Bloom”

Unfortunately, the latest release from Higher Power feels like a let down. Having discovered the band through their fantastic 27 Miles Underwater record, the band’s bouncy and melodic take on hardcore made their sound quite unique. While comparisons of vocalist Jimmy Wizard’s delivery to Perry Farrell are not totally off-base, Higher Power has done a great job at mixing melodicism and edge to define their sound. On their newest single, “Absolute Bloom”, the metallic edge that we have come to expect from Higher Power is all but absent. We here at Noise Is Power love a great melodic tune (see our next entry!), but “Absolute Bloom” was not a track that stuck with us. That said, based on past releases, we hope for a return to form for Higher Power soon! 

The Lemon Twigs - “They Don’t Know How To Fall In Place” 

Again, The Brothers D’addario release another great single that features another self-fulfilling prophecy of a title. Releasing one of 2023’s best albums (Everything Harmony), The Lemon Twigs have announced its follow up, A Dream Is All We Know (out May 3 via Captured Tracks). While a quick follow-up to such a great album can be worrisome, “My Golden Years” and “They Don’t Know How To Fall In Place” have eased any of our fears. The track’s modulations and prominent keyboards harken back to the Sunflower-era Beach Boys pop of Everything Harmony; Music to our ears! The Lemon Twigs continue to establish themselves as one of rock’s hardest working bands… Looking forward to the new LP.

Crush Your Soul - S/T EP

Leeway, Raekwon, Merauder.
These three monumental influences collide with Mindforce’s Jay Petagine, who surprise-dropped the debut EP from his new project (Crush Your Soul) this Thursday! Released via Streets Of Hate and mixed by Taylor Young, Petagine is backed by members of Recycled Earth, Scarab, Gridiron, and Simulakra. Safe to say, the entirety of Crush Your Soul’s debut release is a fun listen that is informed by many of modern hardcore’s founding fathers. From the EP’s artwork (paying homage to Leeway’s 1995 LP, Open Mouth Kiss) to the Only Built 4 Cuban Linx… (Raekwon) inspired interludes, this EP packs a lot of passion into a short runtime. A vibrant and great release… Keep ‘em coming!

Did you have a favorite new release this week? Sound off in the comments.

Looking at records and bands in retrospect, decades removed from their initial release, can be a difficult task to accurately accomplish. While it is simple to listen back to obscure records and find hidden gems, deciding what in particular made those records obscure is a different beast. We found ourselves facing this dilemma upon discovery of The Death Of Cool, the third full-length offering from London dream-pop trio, Kitchens of Distinction. 

Released in 1992, only a year after My Bloody Valentine’s Loveless defined the psychedelic aesthetic and woozy production that would become permanently affixed to the genre, Kitchens of Distinction would not follow suit. The Death Of Cool is an album chock full of brilliantly-nuanced pop bliss (with a healthy serving of fuzzed-out guitars), but the album’s packaging leaves little to the imagination. For better or for worse, the Aztec art that graces the front cover poorly represents what lies inside, serving as a prime example of the old “Never judge a book by its cover” adage. You could also argue that Kitchens of Distinction sounds like they would make music more in tune with brit-pop giants like Blur based on their name alone, but you would be remiss to make such a generalization. 

Nonetheless, what matters most is the music. The Death Of Cool excels in this criteria with flying colors, as dull moments rarely establish a presence throughout its runtime. 

Kitchens of Distinction wear their influences on their collective sleeve, as layers of both acoustic & electric guitar work together to complement the Ian McCulloch-esque vocals of Patrick Fitzgerald. Have a listen to “Breathing Fear” and envision it as an Ocean Rain b-side. It is a composition that occupies the same level of quality, which can be said for many of the album’s tracks. The opening couplet of “What Happens Now?” and “4 Men” make for an invigorating opening, which is perfectly balanced out with the sublime “On Tooting Broadway Station”.  “…Broadway Station” sticks out as one of the album’s strongest attributes, as the band’s masterful command of dynamic control is on full display. If you stopped listening to The Death Of Cool following that track’s conclusion, assuming that track is the album’s best would be a safe bet.

Luckily, it only improves from here!
 
The aforementioned “Breathing Fear” pairs nicely with both “Gone World Gone” and “When In Heaven”, a grouping of tracks that come across as updated takes on the 80s output of Echo and the Bunnymen. It is difficult to describe exactly what has driven us to make this comparison, but we urge you to listen for yourself and see if you hear any similarities! That said, any similarity to possible influences are shrunken by “Mad As Snow”, the true pinnacle of The Death Of Cool. 

“Mad As Snow” is the archetype of songs that warrant instantaneous replay. The gradual build to peak grandeur that Patrick Fitzgerald, Julian Swales, and Daniel Goodwin conduct is quite breathtaking. It unfairly makes the great tracks that come after it seem pedestrian by comparison, but regular listens to The Death Of Cool will reveal the merit of tracks such as “Smile” and closer “Can’t Trust The Waves.”

While the true Death Of Cool may have come at the expense of the band’s visual art choices for this album, it certainly did not affect the music they were able to create. For fans of 90s alternative and guitar-driven psychedelia, Kitchens Of Distinction are an essential listen.

The Lemon Twigs’ newest single, “My Golden Years”, launches the power-pop revivalists into 2024.

We may have selected five releases that defined our 2023, but The Lemon Twigs’ Everything Harmony has distinguished itself as the release that has yield the most replay value. When discussing the brothers D’Addario (Brian & Michael) that front and craft The Lemon Twigs’ music, their knack for evoking shades of past power-pop giants while avoiding contrivance is a true feat. Most bands that attempt to accomplish what Everything Harmony does come off as archaic and nostalgia-bait, but The Lemon Twigs have mastered the art of paying homage via creation of high-quality new art.

In brief, The Lemon Twigs rule. 

In anticipation for the band’s newest release, “My Golden Years”, we remained baffled as to how the band would be able to follow up such a landmark album for 2023. That said, after our first listen, their strategy became clear: "Don’t worry about expectations; Let’s have fun!" “My Golden Years” became a staple of the band’s live set while supporting Everything Harmony, though the joyous and ever-playful nature of the tune can fully be felt in its studio recorded format. The same brilliant harmonies and Sunflower-era Beach Boys sheen that define Everything Harmony have not vanished, as they are arguably emboldened by the tightness of this track. It does not surprise us that the latest from The Lemon Twigs is great, but it has greatly increased our expectations for the band’s follow-up LP. 

Check out the music video for “My Golden Years”, directed by Ambar Navarro, at the link above!
 
“My Golden Years” is out now via Captured Tracks.

Electra 2000 served as the promising debut from the Chicago alternative outfit, Hum. Revisiting the album via its new 2023 remaster, the band’s future greatness is evident.

The unfortunate passing of drummer Bryan St. Pere (July 2021) would effectively silence the legendary group after the then-recent release of their album, Inlet. The unexpected nature of St. Pere’s passing left many fans wondering if Hum would be heard from again, as Inlet had rekindled mainstream acclaim for the group. While their classic You’d Prefer an Astronaut and Downward Is Heavenward records earned them a mythos status, Inlet proved that Hum still had the capability to deliver their brand of metal-tinged shoegaze soundscapes. All that said, St. Pere’s passing was a true tragedy. Luckily, in 2024, a partnership between Hum and Polyvinyl Records has ensured preservation of the band’s discography and legacy at large.

Longtime fans of Hum can recall a time when physical copies of the band’s back catalog were hard to procure. While secondhand CDs of You’d Prefer an Astronaut remained obtainable (largely in-part to the album’s large distribution and success of its single, “Stars”), the majority of the band’s catalog would be hard to come across. Luckily, Polyvinyl Records (who released the band’s final album, Inlet, in conjunction with Earth Analog Records) would announce a complete reissue campaign of the band’s four studio albums on August 16, 2023. Having Hum’s now-iconic catalog in-print was wonderful news, though arguably most exciting for fans of the band’s proper debut, Electra 2000. While 1991’s Fillet Show is technically the band’s debut album, many (band included) consider Electra 2000 to serve as their true debut (refined sound, most well-known lineup present). Prior to the 2023 reissue, Electra 2000 remained unobtanium for many fans (Noise Is Power Music included!). Thanks to the reissue, we were finally able to give this fabled record a listen! Here’s what we thought:

Knowing what Hum would achieve on records following Electra 2000, the predominantly aggressive playstyle exhibited by the band throughout its tracklist remains an oddity in their discography. Both You’d Prefer an Astronaut and Downward Is Heavenward open with tracks that serve the purpose of establishing tone (“Little Dipper” and “Isle of the Cheetah”), while “Iron Clad Lou” is more concerned with immediate impact. The clean build-up to the track’s true introduction is well constructed and performed, showcasing the ability of suspense and release that Hum became known for. While the guitarwork may not be as nuanced as later Hum compositions, “Iron Clad Lou” does a fantastic job of kicking things off. Moving into “Pinch and Roll” and “Shovel”, the  primitive qualities of Electra 2000 begin to come through.

Matt Talbott’s vocals can often be described as relaxed and conversational, which is why his performance on “Shovel” is quite a departure. The impassioned growl that Talbott brings to “Shovel” is quite thrilling, making it the highlight of the track. While this vocal style became a rarity on later releases, having recorded documentation in the form of “Shovel” is a great addition to Hum’s discography. That said, the instrumentation here is hard to distinguish as Hum’s own. The same can be said for “Pinch and Roll”, possessing a groove and briskly-paced vocal that harkens back to early Smashing Pumpkins recordings. While this comparison is often made based on both band’s love of heavy guitar tones and shared homestate (Illinois), the similarity is more apparent on “Pinch and Roll”. While Hum would certainly establish their own sonic signature, these tracks do not serve as the best example of that. That said, “Pewter” is a fantastic precursor to what the band would become.

“Pewter” is the best example of the mid-paced bombast that would come to define the band in their later years. Placed after two less-characteristic tracks in the album’s sequence, “Pewter” is a strong indicator that Hum were aware of their strengths early on. We experienced similar feelings with “Firehead”, which features a cool swing reminiscent of fan favorite, “Why I Like The Robins”. While tracks such as “Sundress” and “Double Dip” cling to the fast-paced nature of earlier offerings, Electra 2000 is at its best when Hum brings some unconventional elements to their sound. For the classic lineup’s first release, it does a great job at laying the groundwork for what they would perfect on the follow-up, You’d Prefer an Astronaut. Electra 2000 may not be our choice for the essential Hum record, but it is a strong piece of a fantastic discography.

Lastly, we greatly appreciated the work of Ryan Smith’s recent remaster! Having sampled the album’s original master in comparison, Smith’s revisions give the album a modern sense of power and low-end “oomph” that lends itself well to the nature of Electra 2000. Unless you are a die-hard collector, either the newly remastered vinyl or CD will serve you well. 

What are your thoughts on Electra 2000? Have you picked up any of the recent Hum reissues? Let us know in the comments!