HVMM channel all their rage and ferocity into their music so with news that they’ll be unleashing their dark debut EP ‘Talk To Me Like I’m Dead’ on September 1st, we’re getting ready to unhinge ourselves and finally let out that pent up emotion.
The Worcester locals started their band after a series of intriguing events, including a ‘scuffle’ in a pub and a caffeine then alcohol fueled meeting, maybe suggesting some of the reason for the their apoplectic nature. Live, they’re known for their unquenchable presence that makes them truly unforgettable, perhaps explaining how they ended up being the first British act signed to US label ILA. So, if their past is anything to go by, this future release is a sure-fire hit.
The release kicks off with their single ‘Lacerate’. The track, out now if you fancy a taste of what they’re offering, combines the traditional with the strange. In it you’ll find the underlying sound of blues rock that’s topped off by bass lines and riffs that are both exqusitly melodic and hauntingly eerie. It’s Herculean in nature, matching up to the likes of music powerhouses such as Jack White and The Black Keys along with the wild, unruly essence of Slaves.
Later on in the EP you can hear the previously tracks ‘Beggars and Thieves’ and ‘Going Postal’, both released in a double a-side single. The first of the two brings in some serious western vibes that are beefed up with HVMM’s anger. It’s unapologetic in it’s anarchy and if you don’t end up with a headache from the movement this song’s going to command you to do, you’re not listening properly.
‘Going Postal’ almost matches up to the energy but mainly focuses on intermittent riffs that provide the perfect platform for guitarist Ebony Clay to demonstrate her immense talent. That’s not the only way Clay is flourishing in this track, we get to see her flaunt her impressive vocal abilities that make us wish she had more of a presence in the rest of the tracks. But the highlight of this track is the momentous climax it reaches. It’ll take your breath away, it will take your mind away and it will leave you with an inexplicable thirst for more.
Elsewhere on the EP are the tracks that have still yet to be debuted, including the melodic ‘1924’. The vocals are even stronger in this track, leading the instruments through the slow, daring trance that is as threatening as it is haunting. And that’s not even considering the climax that will leave you dizzy and breathless, hungry for more. That hunger might not quite be fed straight away as HVMM decide to dip into more experimental sounds with the electronically infused ‘Millies Going To Town’. The vocals also experiment as those haunting vocals turn into viscously rapped lines, reminding us again vividly of Slaves, perhaps even producing a much better version of the duo’s aggressive style.
That’s before the epic release is drawn to a close by ‘Circular Town’, a slow builder that snakes through the grass, not quite ready to strike until the full band have teased you and tempted you. It’s doubtful that they’ll reach their rise but it comes in and takes you off your feet. ‘Circular Town’ will leave you lifeless, your energy sucked out by what a momentous extravagance it is. You could try and keep up with HVMM and their debut EP but it’s very unlikely that you’ll succeed.