Album Review: Converge - 'Hum of Hurt'

 

Today we are going to talk size. Not that kind. Rather, formats, themes of universal experience and "success". 

Even, dare I say, respect for one's audience.

Yes, I know Disney is a problematic company. We're gonna start out by discussing some recent Star Wars, though. Wikipedia pointed out this awful take to me this morning = Giovanni Lago of Next Best Picture said, "Nothing about The Mandalorian and Grogu feels worthy of gracing IMAX screens." Bro, did you really attach your name to a quote that claims there is nothing IMAX worthy of a massive Frazetta inspired pit snake (spoiler alert) swallowing TWO Hutt crime bosses?! Sigourney in an X- wing? Star Wars almost always belongs on the biggest screen. It is high adventure with dramatic themes.

Metalcore mainstays Converge? They've also more than earned their place at the forefront of their scene with iconic attention to detail and pretty steady values (other than a quite ill advised Jef Whitehead shirt). My point is the mostly consistent delivery and band popularity growth justifies the bigger presentation. Album after classic album and the band doesn't have a dud in the bunch. People can debate if they are better on smaller labels or rougher or more produced sounding, but even at their largest they have never compromised their vision or sound. If anything, the more expansive and bigger scale version of the band we have now have shown how to build an underground band in size with mostly dignity, even as you shift scale.

I am bringing this up because there is plenty of noise rock and punk and hardcore aesthetics in their material, and we all know Albini hated most bigger labels. I have an issue with Epitaph. I am only promoting this record here because I have seen Converge almost a dozen times and loved them for years. It is hard to thread that needle as a non binary person who feels betrayed by "punk" label Epitaph, who I believe enable bigotry now.

At least Disney recently helped pay for a dear friend's expensive facial feminization surgery, whereas Epitaph (an alleged punk label) are still platforming horrible transphobe and Zionist Ronnie Radke, while most of the bands on the roster don't say shit about it like good little breadwinners. That said, Disney also needs to stop doing Zionist bullshit, like sending IsraHell money.

Anyway, I can't never mention any band on an unethical label or company. I can critique the companies and decide how much to push or interact with the material or the artists and try and shape the discussions. I mean, you CAN certainly deplatform nazi bands or whatever and also discuss when groups on a roster could be calling out their label for un-punk greedy shit. 

Thursday's Geoff Rickly managed it with Martin Shkreli. And Kudos for that.

To me, heaviness is not just an aesthetic or musical intensity and also is about the sub culture of doing the right thing. That does not include being an edgelord or kvlt nihilism corny shit. I am more of the Fugazi school of trying to build inclusive community. Guess that is too much to ask in a scene where all the "cool" bands on Sick New World just ignored Marilyn Manson smack dab in the middle of the line up. Hey Brian, "sobriety" also includes the step of coming clean and apologizing for those you have harmed.

This year sees the release of TWO Converge albums. Hum Of Hurt is the newest, following on the heels of the recent well-received Love Is Not Enough. Both seem to pull from the surly and dirgy You Fail Me and maybe the dizzying All We Love We Leave Behind the most. Good news, those are probably my favorites in the old releases. 

This album, like most of their work, makes you want to hear it live. 

"Dream Debris" and the scurrying feet across shifting tectonic plates opener "Slip The Noose" are my two favorite songs they have done recently by a wide margin. There is a deeper vein of noise being mined here and paired with the bands talent for throwing in just insane, energy building flourishes full of emotion. "Doom In Bloom" clobbers with a Shellac meets Neurosis intensity, just fun and contained but still burly and mathy at the same time. 

I really liked this album, my favorite from them in awhile. The cover art reminds me of Type O's Life Is Killing Me, but it isn't so undercooked that it is distracting. If anything, it fits the theme of a constant hum and backdrop of unease in this life. We all try to navigate different hurts. 

My Hum of Hurt is that all the blogs that covered the recent first Hum shows in over half a decade, or however long it was, all just show clips of "Stars" instead of any of the zillion other dope songs that band has up their sleeves. I guess it is all different strokes, at the end of the day. 

The title track is another standout here, propulsive and rolling drums paired with almost thrashy guitar and red hot feedback as the band feel like they are about to split at the seams. Somehow they remain unified in that special chaotic way they have on lock so well. They still feel like a gang and a movement, this time with a little more emotional hardcore in the song's DNA. 

Anyway, that's all I've got for today. Too shell shocked by life to muster much else lately. IDK, dudes. Killer records, but fuck Epitaph for that Ronnie shit. Put this shit out on Deathwish yourselves next time. I know Epitaph is bigger, but they need to clean up their act and right now the stink is rubbing off on anyone. At least, if anyone is paying attention to those actually being hurt.