On their sixth LP, the Hives (TheHives) boast some of their best songs yet. Read our full review of ‘The Death of Randy Fitzsimmons’ here:
When the Hives announced their first new album in more than a decade this spring, singer Howlin’ Pelle Almqvist told fans exactly what to expect. “There’s no maturity or anything like that bullshit, because who the fuck wants mature rock ’n’ roll?” he quipped. Almqvist continued, “Rock ’n’ roll can’t grow up, it is a perpetual teenager and this album feels exactly like that.
finds the Hives doing what they’ve always done: making catchy, frenetic garage-rock laced with a deadpan sense of grandeur. Now, there’s an argument to be made that, by doing pretty much the same thing they were doing on, the Hives are just rehashing the same old sound. Two things about that. First, any person making that argument about this band probably hates fun. Second, the Hives have been a caricature of themselves from the start—that’s always been part of the point.
There are no wasted moments here: The whole thing flashes by in a little more than half an hour, and eight of the songs are less than three minutes long. That’s plenty of time for a barrage of chaotic-sounding but deceptively tight garage rock. When Almqvist counts backward from four onthe guitars land like a detonation, with shockwaves that give way to a muddy bassline that powers the song between riffs.
Not every song hits with as solid a thump—”Crash Into the Weekend” revs and revs without ever quite falling into gear, while “The Way the Story Goes” doesn’t have as sharp an edge that most of these tracks do. Yet the Hives’ commitment to the bit is total, andboasts some of the band’s most exhilarating material in a career that has never lacked any superheated songs or top-shelf showmanship. Maybe that counts as maturity after all.
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