Of all the things I was expecting when I said "Yes!" to reviewing this album, I didn't expect Hoots & Hellmouth to sound like was all wimpy. They're indie-ish with gospel, folk and soul leanings but, well, they are wimpier that any band with Hell in their name should be. The band photo makes them look like semi-hipster bears lost in a city. It's also the bands fourth album but the first time they have troubled me or my ears.
The record opens with Golden Coast: a laid-back song about taking a trip to the golden coast which comes across as a James-like indie ballad. In Effigy is slow and sombre and sounds like a Lucky Strikes outtake but has some nice almost gospel choir like backing vocals over the slow strumming.
Diction seems to think it's a pining soul cry for proper pronunciation and enunciation in a world gone text speak. It's super laid back and full of pleading for redemption and for people to hold each other while listening to it, but while they gaze into each other's eyes, they should make sure to say things properly.
Only Animal has a brilliant organ intro before it becomes a slow and careful song about another relationship gone awry. As I wait for the organ to come back in, it does, only it stays in the background but at least it lifts the song somewhat.
Delicate Skeleton is pretty odd as it sounds poppy and a bit folky and more than anything rather annoying. It's cloying and yet not affectionate singing. I'd hate to hear it regularly on the radio as it has bad earworm properties.
Move Me, however, has a repeating motif which sounds pretty good even if by this point of the album I am already waiting for it to be over as it's getting too overblown. It's also too lush to work how they want it too, as it has about six parts too many. Hurt A Little, for example, opens like it wants to be a Bill Withers slow-building soul classic and is very gentle. It eventually builds and builds into a monumental gospel-style ballad which requires a more commanding gospel voice.
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Rivers and Rivulets is slow and sad and, well, just a touch too much like background wallpaper folk music. Off To Sea doesn't sound like you're being press-ganged but I want more of the bass drum which sounds like it's being hit every now and then with a big mallet while the slow far to mellow nonsense unfolds. I just want to hear that drum bang and strip away the rest of it.
Eventually after what seems like eons, there is a big shimmering drums and guitar part which is worth hearing but not worth waiting for. If only the rest of the song sounded more like that, it might have had something.
The album closes with Golden Compass Rose. Unlike most of the remainder, this one starts off sounding like a big rock song but soon breaks back down to something moodier and more middling which is sort of my problem with this album in general. It's far too background-y and not enough stands out. Every now and then the keyboard flourishes come in and sound great but then they depart again and I want them back to hold my interest.
I can see the appeal of this album as it's well played and produced but just isn't really for me. If you think it's for you then find out more at Hoots & Hellmouth online
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