Well, it’s certainly loud enough. And it’s certainly fucked up enough. But that which a record must be enough of besides loud enough and fucked up enough it is not enough of. I mean, if i can throw out a couple of probably weird-seeming examples here, when bands like the Jesus & Mary Chain or Guided By Voices—WHO, ADMITTEDLY, THE HUNCHES SOUND NOTHING LIKE—were really on their shit, they could throw as much chaos (“bullshit,” if you like) on top of their songs as modern science would allow, and, even the first time you listened to said song, BAM, there it was. The songs were strong and direct and immediately RIGHT THERE. It didn’t matter how many tables and chairs were hurtling through the air—metaphorically or literally—when you heard ‘em, they struck you as clearly and plainly as anything off the Ramones first album or anything Chuck Berry ever did; no small feat given the levels of art-poof-flip-out-ery in play. The Hunches? I dunno… a man with Marky Ramone hair encased in a suit composed of 212 mostly unused maxi-pads just mentally increased his specific gravity to the point where he made the roof cave in? Okay, great. Now whadda we do? Amuse ourselves by playing in the rubble? I don’t hear any songs here. I hear people giving titles to things they came up with in practice. The record sounds nominally amazing for the first few numbers, but by about track #4, it is blatantly obvious that this is a band who cannot quite make up their minds as to whether they want to blow things up or just get high; to me, this makes them less conceptually pure than Pinky & The Brain (who, of course, ALWAYS knew what they were going to do today), therefore unworthy of my endorsement. So be it. BEST SONG: “Compression” BEST SONG TITLE: “Droning Fades On” FANTASTIC AMAZING TRIVIA FACT: Despite the album title, the packaging’s typography is mainly in the Gill Sans font, not the hated Hobo.
–norb (In the Red)