Spring Break
Latest Hives Album Offers Mixed Results
CD Review
Emily Abbate and Stephen Ortiz
Issue date: 11/28/07 Section: Focus
The lines are blurred gray on The Hives' new release, "The Black and White Album." Their newest attempt at improving and expanding upon their punk rock sound after a three-year absence almost hits the nail on the head. Almost.
But where have The Hives been? Dormant since their 2004 release, "Tyrannosaurus Hives," the band were last heard on Timbaland's "Throw It On Me" from "Timbaland Presents: Shock Value" earlier this year. Based on the same mold as The Strokes, The White Stripes and The Vines, the Swedish-based quartet attempt to progress their sound and stand above the rest but yield mixed results.
It's not their brave new attempt to foray into a new sound that weighs the album down, but rather it's the band itself. The truth is that The Hives, despite their staying power and progressive sound that has been critically acclaimed for years, really get old after extended listening periods.
Lead singer Howlin' Pelle Almqvist's sound doesn't change much throughout the course of the album's 14 tracks, and by the time the listener reaches "Bigger Hole To Fill," the monotony ruins the music. Almqvist's signature "Ayeeeeeeeeee!" only makes things worse as it tends to be overdone throughout.
"The Black and White Album," which sounds as if the amount of influences confused even The Hives themselves as to what their true vibe is, finds the band attempting something while still retaining much of the old. With the addition of producers Pharrell Williams and Garret "Jacknife" Lee, The Hives have separated from their mostly indie roots and, instead, have embraced a more mainstream punk-pop sound.
Despite the album's flaws the "Black And White Album" is saved by the drums that create an undeniable toe-tapping rhythm. On "Square One Here I Come," drummer Chris Dangerous adds to the feeling of intensity with his percussion skills, further reminiscent of The Hives of old.
"T.H.E.H.I.V.E.S," produced by Williams, is by far one of the best tracks on the album. Calling back to a Prince-like opening, William's presence is extremely apparent pushing The Hives in a completely different direction. However, he succeeds at making the track a potential party anthem and creating a fresher sound.
The lead off single of "Black and White" is "Tick Tick Boom," and it rocks. The track is sure to satisfy fans new and old with its explosiveness - no pun intended - and catchy sing-along hook. "Tick Tick Boom" sets the vibe for any party, and with enough listens, will transform the room around you into one of those silhouette-filled iTunes commercials.
Listeners may be confused as to what corridor The Hives are heading down with "A Stroll Through Hivemanor Corridors," an instrumental attempt to break up the flow of their garage band style. However, standing alone the track is both awkward and unnecessary, and will likely leave listeners baffled.
Ultimately, The Hives have mastered certain versatility; whether you're in the mood to go for a run, listen to a few tracks between classes or strut yourself as if you were on the new season of Project Runway, even if it misses the point now and then.
Contact Emily Abbate at
Emily.Abbate@UConn.edu.
But where have The Hives been? Dormant since their 2004 release, "Tyrannosaurus Hives," the band were last heard on Timbaland's "Throw It On Me" from "Timbaland Presents: Shock Value" earlier this year. Based on the same mold as The Strokes, The White Stripes and The Vines, the Swedish-based quartet attempt to progress their sound and stand above the rest but yield mixed results.
It's not their brave new attempt to foray into a new sound that weighs the album down, but rather it's the band itself. The truth is that The Hives, despite their staying power and progressive sound that has been critically acclaimed for years, really get old after extended listening periods.
Lead singer Howlin' Pelle Almqvist's sound doesn't change much throughout the course of the album's 14 tracks, and by the time the listener reaches "Bigger Hole To Fill," the monotony ruins the music. Almqvist's signature "Ayeeeeeeeeee!" only makes things worse as it tends to be overdone throughout.
"The Black and White Album," which sounds as if the amount of influences confused even The Hives themselves as to what their true vibe is, finds the band attempting something while still retaining much of the old. With the addition of producers Pharrell Williams and Garret "Jacknife" Lee, The Hives have separated from their mostly indie roots and, instead, have embraced a more mainstream punk-pop sound.
Despite the album's flaws the "Black And White Album" is saved by the drums that create an undeniable toe-tapping rhythm. On "Square One Here I Come," drummer Chris Dangerous adds to the feeling of intensity with his percussion skills, further reminiscent of The Hives of old.
"T.H.E.H.I.V.E.S," produced by Williams, is by far one of the best tracks on the album. Calling back to a Prince-like opening, William's presence is extremely apparent pushing The Hives in a completely different direction. However, he succeeds at making the track a potential party anthem and creating a fresher sound.
The lead off single of "Black and White" is "Tick Tick Boom," and it rocks. The track is sure to satisfy fans new and old with its explosiveness - no pun intended - and catchy sing-along hook. "Tick Tick Boom" sets the vibe for any party, and with enough listens, will transform the room around you into one of those silhouette-filled iTunes commercials.
Listeners may be confused as to what corridor The Hives are heading down with "A Stroll Through Hivemanor Corridors," an instrumental attempt to break up the flow of their garage band style. However, standing alone the track is both awkward and unnecessary, and will likely leave listeners baffled.
Ultimately, The Hives have mastered certain versatility; whether you're in the mood to go for a run, listen to a few tracks between classes or strut yourself as if you were on the new season of Project Runway, even if it misses the point now and then.
Contact Emily Abbate at
Emily.Abbate@UConn.edu.
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