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The Rice Thresher
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Jan Kimmel for the thresher People complain that music nowadays can't be classified. Rock? Rap? Techno? Who knows? Music that doesn't fit into a single category is either an effective conglomeration of styles (such as jazz-rock Mahavishnu Orchestra or rap-rock Rage Against the Machine) or a confused mix. The Hunger's new album, Spaceman's Last Goodbye, is clearly an example of the former. The Houston band has always dabbled in programming and keyboard parts, but their new album is truly a departure from their usual style. In the credits, in addition to the standard vocalists, guitarist and drummer, we see that half the band is also involved in "programming." From the first track, more programming than actual drumming is heard. From many of the intros, a listener might deduce that this is a techno record. That's not a bad thing, actually. The Hunger manages to integrate their guitar-and-vocal-heavy sound with these various percussive effects. They create a groove that can become monotonous at times, but it's great driving or party music. Traditional heavy metal progressions and themes are heard, but the lyrics are fresh and original and make a point about the evils in society without using too many words that we wouldn't say in front of our parents (well, some of us). Songs like "Shoot to Kill" and "High and Hazy" are easy to sing with and will get you up off your ass. The Hunger's new disc packs a lot of energy, but listening to the album is only half of experiencing the band's unique sound. After watching two and a half hours of various DJs spinning and competing at Numbers, I came back to my senses when the lights dimmed, the fog machine kicked in, and the heavenly noise of a heavily overdriven, tuned-down electric guitar and the sweet sound of a five-string bass filled the club. I ran up to the stage and saw a seasoned band that's been playing for at least 10 years start one of the most enthusiastic performances I've ever seen - even compared to intense groups like Pantera, Black Sabbath and Megadeth. Dancing in the audience and moving with the music was infectious, and everyone became absorbed. The two singers, Jeff and Thomas Wilson, had rock-star auras with none of the pretense as they gave an awesome show and talked to the audience between songs. The group is one of the most closely knit I've seen, with great interplay between bass and drums. Drummer Max Schuldberg did well substituting for the electronic beats on the album with an aggressive technique, including tasteful fills and a tight groove. The use of synthesizers during the show was limited to the beginnings and endings of songs, plus occasional atmospheric insertions. Most of these sounds were generated by the Wilsons alternating on keyboard, so there wasn't much sonic manipulation done by anyone offstage. Effort by the band was high but not at peak. After seeing each member play for a few minutes, it seemed like some (especially Stephen Bogle, the guitarist) would've liked to leave the constraints of the songs and improvise or jam a little bit. This drew attention to the monotony of several songs, but it wasn't enough to make the show seem monotonous overall. The Hunger's members are great lyricists and competent songwriters as well as seasoned musicians, whether they're singing, playing or working with synths. I'd recommend this album to anyone tired of the fake happiness in today's music, who wants to hear about real life yet not be mired down by the sludge of most heavy metal. The Hunger has a dense yet clear sound, live or in studio, and hopefully Spaceman isn't their last goodbye.
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