The band continues to gain massive support among both critics and fans and are showing no signs of slowing down in 2014. After signing to Rise Records in 2011, and boasting a dedicated and fast-growing international following, their YouTube channels have since seen over 10 million views. Hands Like Houses are renowned for their eclectic blend of technical and effects - heavy songwriting, inspired lyrics, and explosive live performances. The album was recorded this past April 2014 in Los Angeles, California at Grey Area studios with producer Erik Ron, who has worked with bands like Panic! at the Disco, Saosin, Chiodos, and more. The new song is set to a scenic backdrop of compiled video footage from the band's recoding session at Little Plain, the small farmhouse in rural Australia where most of the EP's songwriting took place. The five song EP offers alternative versions of songs from their sophomore album, Unimagine, which charted on iTunes US Top 20 chart. The dynamic power ballad "Knife Through Butterfly Heart" and haunting, orchestral title track offer welcome changes of pace, but Under the Midnight Sun is sorely missing a sleazy, chest-beating arena-rock anthem a la "New York City" or "Wild Hearted Son." This is a stately, dependable, grown-up rock album made by 40-year veterans - certainly a worthy addition to the Cult catalog, but lacking the energy and eccentricity that made the band so compelling in its prime.Critically acclaimed HANDS LIKE HOUSES have debuted a new track, "recollect (Shapeshifters)," from their forthcoming Reimagine EP, which is scheduled for release on Septemvia Rise Records. It all sounds terrific from a technical standpoint, but too often, Under the Midnight Sun gets stuck in one gear, abounding with galloping, midtempo grooves and oddly restrained choruses. Astbury, in particular, seems either unwilling or unable to unleash the ferocious, lusty howl heard on classics like "Fire Woman" and "Lil' Devil," and even late-career cuts like 2012's "Honey From a Knife." Album opener "Mirrors" and lead single " Give Me Mercy" soar thanks to these glistening six-string showcases, conjuring the yearning, melancholy grandeur of Love cuts like "Nirvana" or "Rain." Astbury remains as cryptic as ever, imploring listeners to " Watch the butcher's knife / In his trembling hand / The end of a species / The shimmering veil." ![]() Duffy covers a vast sonic terrain, dishing out crunchy rock 'n' roll chords and cavernous single-note leads in equal measure. Formed in 2008 by members from disbanded groups Eternal Debut and So Long Safety, Hands Like Houses comprised singer Trenton Woodley, keyboardist. than their native Australia, the band began a steady rise that reached new heights with 2016's Dissonants. Following the 2012 debut Ground Dweller, which charted higher in the U.S. Producer Tom Dalgety ( Pixies, Ghost) gives the LP a crisp, nervy sheen, allowing cymbal crashes, propulsive tom rolls and nimble bass lines to bend the listener's ear without obstructing the band's chief melodic duo. Australian post-hardcore band Hands Like Houses debuted in the late 2000s, joining a crop of stylish but heavy bands that valued singalong melody as much as aggression. It was an incredible moment."Īcross its eight tracks, Under the Midnight Sun evokes this ethereal phenomenon via Duffy's shimmering, reverb-washed guitars and Astbury's gravelly, vibrato-laden baritone. "There were rows of flowers at the front of the stage from the performances earlier that evening. "People are laying on the grass, making out, drinking, smoking," Astbury recalled. The album title was inspired by the band's 1986 performance at Finland's Provinssirock festival, where they basked in the titular midnight sun during summer when the sun doesn't set north of the Arctic Circle. On Under the Midnight Sun, their 11th album and first since 2016’s Hidden City, the Cult incorporates both sides of this musical duality, with Astbury's esoteric musings getting a slight edge. This musical yin and yang resulted in a triptych of classic albums - 1985's Love, 1987's Electric and 1989's Sonic Temple - that ran the gamut from goth rock to quasi-glam metal, and it showed the Cult’s ability to adapt to changing musical trends without becoming beholden to them, keeping fans on their toes all the while. For nearly 40 years, the West Yorkshire band's driving creative force has been the push and pull of singer Ian Astbury's post-punk spiritualism and guitarist Billy Duffy's arena-rock histrionics. ![]() ![]() The Cult has always defied easy categorization.
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