Freak jazz? Post cabaret? Math core? Hellfire, the UK band's third installment in the group's blockbuster franchise, continues the band's hot streak at making wild, freakishly hellbent music that's increasingly hard to describe or pin down. These songs can only be captured by black midi themselves and themselves alone.
Freak jazz? Post cabaret? Math core? There seems to be endless possibilities in how to describe black midi, UK's most unpredictable and exciting band. Since the group's quick rise from all buzz on their debut album Schlagenheim in 2019, black midi have been the wildest and most impressive group to come out of the UK post punk scene. Last year's Cavalcade brought the band to a trio and featured a more cohesively planned out album rather than a sporadic one. Hellfire, the UK band's third installment in the group's blockbuster franchise, continues the band's hot streak at making wild, freakishly hellbent music that's increasingly hard to describe or pin down. These songs can only be captured by black midi themselves and themselves alone.
In some ways, Hellfire seems to be the direct sequel to Cavalcade. The album art continues to be similar to that of maniacal AI-generated Photoshop saturation, there are similar elements of sound palettes and production choices. Upon first listen, I wasn't sure if Hellfire was going to be as high of a water mark as Cavalcade. I was questioning if some of these freakouts were that of a "Chondromalacia Patella" or a "Slow." But after multiple listens, I've realized not only how much fun and enjoyably addictive Hellfire is but how it is certainly equal to or even superior to Cavalcade in quality. The performances across the board sound like they are coming from a band who have been gelling for decades while jamming together... rather than that of one who've been together for just a few years and initially started when they were under the drinking age. The songs, production, and songwriting all seem to be thought out a lot more than ever before but that doesn't mean the band still knows how to frivolously throw curve balls directly in the listener's face. There are more theatrical tie ins and elements of grandiose vocal pop, flamenco, and a wildly ranting vocalist (the one and only Geordie Greep) we simply haven't heard before. Most notably too are the focused themes of violence, war, boxing, and murder scattered across this album. There are also nice fluent transitions in between the songs, making this a more streamlined album experience... including a wacky FM radio-like transmission on "Half Time."
The album opens with a theatrical and epic introduction that sounds as if we've entered one nightmarish carnival ride and we're strapped in for dear life. You'll first hear Greep's fast paced, delusional-sounding ramblings. They are more notable across the record, specifically on tracks like "27 Questions" and "The Race is About to Begin." Though I find the often rapid fire lyrics to be charming and interesting whether you're whipping out the lyric sheet or not, these moments are the most self indulgent ones from the band and you'll most likely either love them or hate them. "Sugar/Tzu" starts with an epic wrestling announcer announcing the start of the boxing match that Greep narrates about (think Michael Buffer). It's one of the band's best singles to date and it has the most crazy and wild guitar passages you'll hear in 2022. "Eat Men Eat" has bassist Cameron Picton on lead vocals, who narrates a story about two strangers whose visit in a mysterious mining facility goes awry. I won't give away too many details but the tale is a crazy one. There are lovely flamenco guitars strumming and handclaps throughout the track and some squelching saxophone. "Still" is the band's countrified, twangy western tune. It's the album's sunniest and prettiest moment that adds a more lighthearted tone within the overall darker track listing.
"Welcome to Hell," the album's lead single, is thematically the centerpiece to the album. It features a story of a solider at war who suffers from PTSD, is berated by his commander due to his mental health, and is discharged as a result. Greep does a great job of narrating about violence and the trauma that war gives to someone along with the maniacally evil instrumental that swirls around it. "The Race Is About to Begin" has these repeatedly razor sharp guitars and a Geordie Greep hopped up on presumably 20 shots of espresso over this seven minute epic (I mean, just listen to him at the 2:30 minute mark... lol). On the flip side, "The Defence" has a smoothly crooning Greep over a lush, swaying ballad. It's beautiful, it's triumphant, and I don't care if it sounds super close to a Neil Diamond song. "Dangerous Liaisons" and "27 Questions" are slow burners but are more rewarding with each new listen. They can be a bit harder to get into at first due to the strange and obtuse guitar chords and slow building progressions but trust me, you won't regret it.
After listening and letting Hellfire sit in my brain for awhile, I can gladly tell you that black midi haven't lost their bite but have only grown more razor sharp teeth in the process. Clocking in at 39 minutes, this may be super short but when you finish the album, you'll be wanting to repeat it over and over. I appreciate that the band are continuing to create wild and unpredictable moments that challenge not only the listener but themselves as well. I think they continue to get better and better as a band and can only imagine what other crazy oddball records they're going to make in the near future. They continue to be superior in talent to nearly any of their contemporaries. Though black midi certainly aren't for everyone, Hellfire is one of the best albums of 2022 and you can make a strong argument that this is their tightest, strongest, and most fun album yet.
My Rating: 9 / 10
Favorite Songs: "Sugar/Tzu," "Eat Men Eat," "Still," "The Defence," "Welcome to Hell"
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