Thirty Something Records – 1st March 2024
Christopher Nosnibor
Norwegian noise rock act Hammok have been giving much cause for excitement in recent months. Having first encountered them by way of their Jumping/Dancing/Fighting EP, just over a year ago, they’ve continued to produce something just that bit different. Noisy, yes, but also jerky, and quirky. Something about their sound and the delivery grabbed me. Perhaps it was the instant tinnitus brought on by the full-throttle blast delivered with unbridled mania. Jumping/Dancing/Fighting was less a knock on the door followed by polite head nodding and a round-the-group introduction than rocking up at a dinner party, kicking the door down, pissing on the welcome mat and setting fire to the hallway to announce their arrival.
The title of their debut album look how long lasting everything is moving forward for once, makes no sense linguistically, as a phrase, or even in terms of content. It’s a loosely-assembled succession of words that sort of convey something, although its precise meaning is unclear. And as such, it seems quite right and fitting for the sonic riot it hosts. Since Jumping/Dancing/Fighting late in 2022, they released a second EP last June, and with almost an album’s worth of material already out there, their first album doesn’t include a single track off these first releases, and, trailed by single release ‘Séance’ last month, look how long lasting everything is moving forward for once is an album devised as an album – rather than a collection of songs.
look how long lasting everything is moving forward for once is a short, sharp shock, and a brutal blast, to boot. It pack in eleven songs, and while a few are of a solid length – ‘Wannabe (Billboard No. 1)’, ‘BRAINROTDESPERATION’ and ‘Eat You Alive’ all stretch beyond the four-minute mark, but the majority off the songs are under three minutes, with a fair few – the 1:20 ‘Post Wannabe’ and 1:55 ‘Post Wannabe’ and 2:19 ‘Trap Door’ and 2:28 single ‘Séance’ all blasting hard like sonic injections, eye-popping explosions of innovation and raw energy.
‘Long Lasting’ crashes in on wave of feedback before blasting into an incendiary wave of noise with frenetic drums and manic vocals screaming all explode like a sonic supernova. Charging into an album headlong like this has impact, alright, but inevitably poses the question of just how sustainable that kind of energy is. Immediately after, the raging post-punk ‘Séance’ feels like the obvious lead single choice, with its neat synths, pumping percussion and something almost resembling a hook. It’s a cracking tune, but it’s wild, crazed, and intensely noisy, combining the screamy grunge of Pulled Apart By Horses with a ferocious hardcore punk element.
‘Nothing’s Never Better’ maintains the pace and the raging nihilistic fury, but again hints at an evolving signature for Hammok – a minuscule break, often no more than a couple or bars – where from amidst the chaos and the discord, there’s the briefest flicker off melody, or levity, like a single ray of run breaking through a thoroughly clouded sky following twelve hours of solid heavy rain. It’s so fleeting as to seem almost imaginary.
There’s grunge, noise rock, post-punk, hardcore, and post-metal all in the mix here, all fermenting away fervently, and it’s a lethal cocktail, which has resulted in an album that’s too hard, too fast, too wild, too varied, to get down with straight away.
‘Wannabe (Billboard No. 1)’ is almost pop-punk… almost. Because it brings an unexpected and hard to reconcile range of elements, from the charging fury of early Idles and the shimmering, chiming breaks of Interpol, delivered with a dash of shoegaze and for all the rambunctious rage, there’s something inherently sad about it – the mood, not the song or the band.
‘H.F.D.’ is as much of a blasting wall of house as it gets, making any Strapping Young Lad mentions appropriate, and then there’s a sudden lurch into gnarly metal with a lot of detail. Meanwhile, ‘BRAINROTDESPERATION’ is a magnificent piece which manages to cross post-rock with hardcore and brings a dramatic, gothic edge. The riffs and rackets keep on coming, back-to-back, end-on-end, and the intensity does not let up. There are brief flickers of melody which peep through the blanket of noise, occasional lines with almost resemble hooks, but they’re whipped away as soon as you catch a glimpse of them, leaving you wondering if you imagined them. ‘Eat You Alive’ is a ferocious squall of guitars, the vocals are positively rabid, and the final track, ‘Terror’ arrives not only as a contrast but a surprise, with some jangly indieness paving the way for something that’s an incongruously upbeat slice of emo metalcore.
look how long lasting everything is moving forward for once is an overwhelming experience. There isn’t a dull moment, or even a moment to catch breath, and consequently, knocks the wind out of you and leaves you dizzy and dazed. look how long lasting everything is moving forward for once is imaginative, inventive, insane, and is solid proof that Hammok are no slouches when it comes to mongering noise.
AA
Aural Aggravation 