Music 2016

100 – The Hunna

100

Release Year: 2016

Rating: 8/10

In case you haven’t noticed, I’ve been obsessed with Night Riots since I saw them open for Blaqk Audio earlier this year. Now, I love them even more for introducing me to The Hunna. The Hertfordshire quartet took the stage before Night Riots and tore it up. I was floored by their raw energy, sheer force, and awesome presence. Plus, it didn’t hurt that their songs were kickass. I bought their debut album, 100, right after the show ended. While it’s not perfect, it’s a promising as hell debut.

Right away the album pulls you in with the insanely catchy “Bonfire.” This opening track perfectly captures what The Hunna are about: raucous music with sing-along worthy hooks. Singer Ryan Potter recounts a destructive relationship with a hint of sadness, but mostly sass as he sings snarky lines like “So bite my tongue/But fuck your heart/and I can’t stand/can’t stand you, baby.” Everything explodes during the chorus, hitting you in the chest with the wild guitars and pummeling drums. The music may be intense, but the hook of “And we blew up like a bonfire/fire, fire” instantly grabs you. Though the content isn’t necessarily upbeat, the way the song is packaged makes it fun and so fucking satisfying making you want more. Luckily, The Hunna is prepared to deliver.

This trend of earworm hooks and wild music continues for just about the entire album. “We Could Be,” which seems to be targeted at previous record labels who passed over the band, has the same driving energy and sheer force as the previous track. This song stands out for the catchy, yet biting hook of “We could be way up/and we could be on top/if it weren’t for shit like you.” Somehow they manage to make this chorus fun and upbeat even though there’s a lot of attitude and anger behind it. “Never Enough” follows the same pattern of rocking music with gripping hooks on this highly energetic and booming track. It makes another high point on the album.

Though they don’t seem to talk about it much, the band must’ve had a hard time getting started judging from songs talking about their struggles. “World is Ours” has a positive message of not giving up when times get tough and talks about trying to get the band running. It has a great message but isn’t the most gripping song on the record. “You & Me” is another song dedicated to the non-believers and a nod to those who stuck with them over the years. We get to see just how much the band means to them with the line “not just a band, but a family.” It seems they’ve been through some rough times, but at the end, they keep smiling, which is something they express in other songs. Tracks like “Brother,” “Alive,” and “Be Young” all have an uplifting message of live life, be happy, and don’t stop trying.

The Hunna slow things down with the soft, sentimental “Sycamore Tree.” Potter finds himself in a moment of reflection on this mellow track. The way it’s framed is actually soothing: for most of the song, it’s only Potter and an acoustic guitar. Near the end, the rest of the music kicks in waking up listeners, but things never get crazy. It’s nice to hear them switch things up, but it’s a little too slow for my taste. “Still Got Blood” is the stronger ballad. It has a raw, rock sound with the fiery guitars and hard hitting music. There’s definitely a lot of attitude and soul to the song, which keeps it from getting dull. Potter gets sultry for the sexy track “Bad For You.” With a blues-tinged riff, Potter sounds soulful and full of desire as he sings about something he wants so bad but knows it’s no good. It’s one of those songs that you put on to get in the mood.

Honestly, there are no bad songs on the album. Some are stronger than others, but they’re all enjoyable. But what keeps 100 from being a stellar debut album is the length and lack of variety. After a while, the songs start sounding the same. “Coming Home, “Rock My Way,” and “Alive” can all be described as highly energetic, catchy, fun songs. Aside from a guitar riff here and there, little about them really stands out from other, stronger tracks. This is why songs like “Piece By Piece,” which takes some cues from funk and has a sick groove, are so notable.  This becomes painfully obvious when you realize the album keeps going and going. Filled with 16 tracks, some of it, sadly, is filler. If they opted for something shorter, they could’ve picked the best songs making for a standout debut album. As it is now, it’s not bad, just a little tiring after a while.

Still, The Hunna fucking rock. The album has its flaws, but it’s enjoyable. All the songs make you feel good and have killer hooks. You’ll be singing along with them in no time. They somehow manage to perfectly blend pop melodies with hard driving rock music, making for songs that are super satisfying. Plus, Potter proves to have a wonderful voice. He switches from signing with so much fire it sounds like he’s about to rip his vocal chords to sounding soulful and sweet. And the way his thick British accent infiltrates songs makes it downright charming. If you thought the album was good, just wait til you see them live. If The Hunna is the future of alt-rock, I think music will be awesome at least for a little while.

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You’ll Pay for This – Bear Hands

Release Year: 2016

Rating: 8.5/10

I first heard of Bear Hands when I saw them open for Cage the Elephant in 2014. I really dug their revolving musical styles and upbeat songs, so I quickly became a fan. I was pumped to hear about their upcoming album, looking for more infectious synth and unique tunes. And I was not disappointed.

The band has a knack for mixing synth with indie rock and it’s no different on this album. It opens with the 80s tinged “I Won’t Pay,” which starts out soft and mellow with falsetto vocals by Dylan Rau until it amps up for a bigger sound. When the guitar takes over during the bridge, it gives the song a rock edge. It’s catchy, which is a running theme for most of the album. Next comes their current single “2AM.” Though it describes partying until the early morning, the music is surprisingly chill. The mood is very soft and kind of atmospheric as it explores trying to stay out even though you’re too old. Lyrics like “All I want is/to forget how old I am” and “I put my best dress on/crawl back in bed” brings up images of being stuck at a party feeling miserable. It’s not the most grabbing song on the record, but it grows on you after repeated listens.

The band continues exploring getting older on “Too Young,” which sounds like a lounge song from the 70s at times. It’s not the strongest song on the album, but it’s not horrible. It manages to be interesting with it’s subject of being too immature for a relationship. The song does boast the memorable line “Youth is overrated,” which goes against the grain of common thought. Things are tuned down for the dreamy “The Shallows.” It begins with soothing sounds of rain and continues the calming theme with falsetto vocals and light surf rock guitars. It’s not necessarily a high point on the album, but the relaxing nature of it allows listeners to catch their breath.

Similar to their previous release, most of the songs on the album are fun, memorable, and made to get you dancing. “Like me Like That” has a simple hook and is another song taken straight from the 80s and “Chin Ups” is a synth pop, energetic ride with a hint of rock. Bear Hands let’s their old school influences run wild on the catchy “I See You.” With even more raucous synth and spacey sound effects, it sounds like it was taken straight from their favorite era. It sticks with their established style, but it’s another upbeat hit for the band.

The mellow, tropical opening of “Boss” seems unfitting at first, but once the hook kicks in the song comes alive. The guitar has a Southern rock flavor giving the song a boost. The track gets stuck in your head from the memorable hook of “I’m the bitch and you’re the boss.” The 80s feel returns on the bouncy and infectious “Deja Vu.” As soon as the bright synth riff kicks in, it makes you feel good. This is mixed with Rau’s rapid rap-like flow to make an irresistible track. The mood gets even better when brassy horns come in towards the end and amps up the feel good mood.

The most forgettable track is the closer “Purpose Filled Life.” Even though it’s dreamy, atmospheric, and has heart behind it, it’s buried under the stronger songs. The music is innocent, sounding like something from a simple Casio keyboard. The song itself seems to deal with making sure your life has meaning to it, which is a universal feeling. It’s kind of a depressing way to end a thrilling album.

What makes Bear Hands’ music so appealing is how exciting, different, and fun it is. Fans will be happy to know there’s more of the same on this album. It doesn’t really stray away from their beloved electric, synthpop, rock vibe, but it cranks up everything they did on their last effort and makes it better. The theme of the album is at least different and will be relatable to fans in their late 20s and older. It seems the longer Bear Hands around, their output gets stronger.