Hood
Home is Where It Hurts EP
[Aesthetics]
Rating: 7.2
Having just come back from a really nice four-day vacation, I can pretty
safely say that the boys in Hood are on to something with the title of this
EP. By the end of my vacation, I was seriously looking forward to going home--
to the fluffy pillows, the hundred channels of cable television, and a bathroom
that's only slightly vermin-infested. But no sooner had I set foot in the front
door than I began to slink back into that all-too-familiar rut that only home
can provide. I immediately settled into the firmly established ass-groove in
my desk chair, received the hundred or so e-mail messages that were waiting
for me. And then I stubbed my fucking toe.
Fortunately, I was also coming home to my stereo. If I was going to be
miserable, at least I was fully equipped to provide an adequate soundtrack
for low-level depression and aching digit. And while Home is Where it
Hurts could sadly not provide decent accompaniment for the throbbing toe
pain, it makes a rather pleasant companion for a transition from care-free
vacation days to the saddening realization that I'm going to be in the same
place for a long, long time.
Home is Where It Hurts, the most recent entry into the band's massive
canon of work-- they've issued 4 full-lengths, 11 singles, 4 split singles,
26 compilation tracks and 4 remix records over the course of the past 10 years--
is 25 minutes of deliberate, meditative rock, served up with flourishes of
piano, strings, and skittering drum machine beats. At the heart of its best
moments is the pairing of straightforward, slow-to-mid-tempo songs with
frenetic, glitchy percussion. This combination is the first thing heard on
Home is Where It Hurts, and largely defines the sound of the record.
The EP's title track begins by pairing hyper pre-programmed kicks and snares
with plucked acoustic guitar. As layers of guitars, drums, and muttered vocals
build, the track develops into a lovely rock song, though the interplay of the
electronic percussion with the organic instruments gradually loses steam.
A better example of Hood's incorporation of crazed drum machines amidst
melancholy pop strains would be "The World Touches Too Hard," the EP's
standout. A hissing electrobeat permeates layers of strings, reverb-tinged
guitars, and claustrophobic vocals. The piercing blasts of treble amidst a
sea of mid-range really brings the track to life, elevating it above the
pretty but occasionally dull nature of the rest of the record.
Indeed, many of the strengths and weaknesses of Home is Where It Hurts
seem to come simply with the type of music Hood plays. The songs here develop
quite deliberately, but never really deviate from the path that they carves
out for themselves at the outset. Hood may not possess the fragile beauty of
their better contemporaries, but the music is sonically dense enough to keep
you interested. In other words, it's nice accompaniment for relaxing or
applying ice to a swollen toe, but you probably won't be taking it on any
road trips.
-Matt LeMay