Finally, it’s here. The debut record from UK heavy music stalwarts, Hidden Mothers. It’s even more mad when you think that they’ve shared stages with the likes of ASIWYFA, Empire State Bastard, Conjurer, This Will Destroy You, and Svalbard to name but a few. They’re also gracing 2000 Trees festival next year, where they will not only have an actual album to their name but will be performing alongside Million Dead and Alexisonfire. Having all of this on your CV before releasing an LP is pretty impressive to be honest. So there’s obviously something here to check out.
A four-piece post-hardcore/black metal/screamo outfit from Sheffield, UK, Hidden Mothers have quietly made their way to the fore of the UK heavy scene through a combination of graft, charm, word of mouth, a reputation for incendiary, moving live performances and a true focus on quality in their (as yet limited) releases. So, 5 years into their existence, they release their debut record with a strange sort of anticipation around it in many corners of the UK scene. Those of us “in the know” know that they’re good, but can they capture what makes them special in a long-playing setting? Well, mercifully, the answer is a resounding ‘yes’. But I’ll explain more about the band’s sound first if I may. I’ve used a couple of genre labels above, but I don’t think either really fits HM’s sound for the most part. And I mean that in a good way. There are elements to what they do that evokes, more simply put, emotionally driven heavy rock. There is fragility and tenderness alongside the heaviness. It’s not as blistering as black metal often is, not as overwrought as screamo tends to be, but sits in a strange little centre point in the Venn diagram of those sounds, along with more classic heavy and post-rock sensibilities when it comes to songwriting on occasion. I’m not sure I’ve made that much clearer, but I’m sure you get the ballpark, right? It’s a bit Thrice, a bit Deafheaven, a bit early Biffy Clyro and a bit MØL. Whisper it, there are even snatches of There is a Hell… era BMTH in some of the gently picked, reverb-laden guitar lines. And I won’t even try to pretend I’m not delighted about it.
A case of identity crisis? Oddly, I don’t think so. Hidden Mothers have spent a long time working out who they are, and as a result, they now feel like a very singular proposition, despite this being their debut full-length. With vocal duties being handled by a combination of bassist Liam and guitarist Luke, (one of 2 guitarists, alongside Arian; with Adam making up the four-piece on drums) and myriad influences, their approach to composition and sonics is dynamic to say the least. Indeed, having 2 vocalists capable, between them, of the range that Luke and Liam are gives the band more than enough scope and options. Luke’s emotive yet smoky, cracked, often delicate cleans compliment the lighter end of the band’s musical oeuvre, while having Liam’s full-blooded roar on hand means there is never any shortage of heft or power when it’s called for. But there is a lot more nuance to the vocal dynamics than that as well. Just listen to "The Grey" followed by "Grandfather" to see how far they can reach. The mix uses both incredibly well too, with distant screams of anguish, both vocalists combining in various different ways and occasional wretches that remind you that this band has a rich vein of black metal running through their core as well.
It's an enigmatic sound and one that demands your attention. Not least of all because of the combination of styles I’ve mentioned up to this point. And it’s important to acknowledge how seamless those elements are fused together. Where post-rock can be criticised for being glacial, or even predictable in its approach to builds and crescendo, black metal can be deemed very linear, etc. there is no such songwriting rulebook adhered to on this record. It simply pulls from those influences (and more besides) when it serves the song to do so. With songs being seemingly hewn from raw, often extreme emotions, it’s hard not to be moved by the content of the record and I’ve found myself becoming more enamoured with it the more listens I give it. Initially it felt almost like a mood piece, but the more familiar I became with the songs, the more I found myself eagerly anticipating certain passages or lyrics and the sense of catharsis or deliverance that they can precipitate. It’s at moments like these that it’s all the more difficult to remind yourself that this is Hidden Mothers’ debut album.
The incubation period of this album has clearly been well worth it. There are torrents of care, craft, pain, frustration, rage and love that have been poured into these songs, and consequently it makes for a fascinating, thrilling and beguiling listen. Though at its best, it’s far more of an experience than simply a listen, I would argue. It’s not always easy for bands to take this major step onto the scene when they’ve been around for a while, but Hidden Mothers have done so with such self-assured style and confidence that I am immensely excited at the prospect of their continued presence in the UK scene for years to come.