It’s nothing if not a bit untoward,
unsatisfying even, when a band that thrives on craft, pace and ranges of dynamics
masquerades as, of all things, a singles band. Tonight’s Hope Of The States
set is a little top heavy to say the least. And it doesn’t suit them so well –
still they give the impression that they’ve yet to grow into their own skin. They’re
at their best when exploring a setting, expanding inside a moment, when a song
belongs to itself rather than in a tracklisting. But the first half of the set
is characterised by apparent discomfort, wooden performances reeled off individually,
one by one; conditions under which rich album tracks wilt slightly. It’s like
the plug’s constantly being pulled every 5 minutes before any momentum can reveal
itself. Sam Herlihy seems only too aware of the restrictions of his voice,
but he’s further blighted by uncertainty, in the first instance if less so later
on, which plays a part in its inherent frailty. Though they’re ultimately defined
by the dark colours and gradients of their extended post-rock breaks – take for
instance the vastly epic strides at the climax to ‘Black Dollar Bills’, as magic
here tonight as ever – they’re as recognisable for their classic song structures
and have very few actual instrumentals at their disposal. Yet they’ve already
thrown away two – ‘The Black Amnesias’ and the new, superior ‘Red Stars, Black
Stars’ – in the opening minutes, the figurative curtain barely raised. They seem
to serve as an excuse for Sam to avoid confronting the microphone until he absolutely
has to, save for a few distant off-key abstract contributions. It’s a shame
not just because of the detrimental effect it has on the pace, but because when
he does find his feet on a beautifully dour, low ‘Me Ves Y Sufres’, they sound
as complete as the idea they hint at, building magnificently, skilfully, naturally.
The transformation in the final straight couldn’t be more striking. Recent single
‘Nehemiah’ thrums forcefully into life, ditto an audience awoken from a fairytale
slumber, followed with equal sucess by a rabid ‘The Red The White The Black The
Blue’ and a captivating ‘Enemies/Friends’ peaking with Sam drawn from his keyboard
to the lip of the stage to conduct his willing choir. The lights surge, the atmosphere
claims the electricity it’s desired all along and sparks genuinely fly between
the members. Then they’re gone, and perversely we’re handed a vision of how tonight
should have begun. Encoring with b-sides ‘Last Picture Show’ and ‘Static
In The Cities’ they do what seemed impossible earlier in the evening and keep
climbing, becoming a deserved epiphany of intensity. Which only stresses their
strengths. It was never in doubt though that all the constituent parts were all
present, just that they don’t seem to have an instinct as to how exactly all those
parts should be assembled. They’re much like the model plane parts that buzz by
as frantic silhouettes in the brilliant backdrop visuals for ‘The Black Amnesias’
(courtesy of honorary HOTS members Type2Error). The thing flies, but the wings
are on upside down and the radar doesn’t work. But they’ll find their way eventually,
with an evolving determination if nothing else, we’re pretty sure of that. Relevant
sites:
http://.www.hopeofthestates.com/
James Berry for Crud Magazine 2004©
October - December 2004- News Archive | |
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