HELLFIRE

With my 'The List' getting way out of hand for far too long, it's no surprise I'm getting to the latest by UK's Black Midi nearly a year later (I have no real devotions leading me to prioritize one band over another, so I am indeed a fake fan haha). Following the release of their EP Cavalcovers, from a few months before in March '22, their third LP, Hellfire, was released to fairly positive criticism [and I can now see why], and it's certainly the hottest thing in their main discography according to our fellows here at PA. And can we give it up for a Prog band outputting a 10-song, 39-minute album?! Likewise, impressed to see the credits so filled out, so to speak; haven't seen this much individual involvement since Gentle Giant's potential magnum opus (my favorite) Acquiring the Taste (1971); even GG is outdone here. Regardless of how long it's been, I am absolutely stoked to jump on in.

Title track "Hellfire" starts off the record with Euro quirk. Geordie Greep delivers a truly crazed monologue-come-rap over the darkest Cabaresque accompaniment (somewhat circus-faire). This is truly a striking and remarkable opener. Acting as stark juxtaposition to the soft, jazz croon of "Sugar/Tzu"'s intro. The mix opens up and the pace is quickened; we're in for a treat, are we? I'm beaming. The rhythmic cacophony of the post-verse is unbelievably tense: no surprises yet, but ever-delighted by what Black Midi bring to the table. Collective genius, in my humble opinion. From the lightest quiet to hyper-focused [or chaotic] drama, this is a killer. Without skipping a single beat, "Eat Men Eat" begins with a sort of Latin-inspired drive, as Cameron Picton sings in (briefly) soft singer-songwriter tone. The strums and plucks of acoustic-classical guitar are delish, all while percussion thrusts us all forward. After a harsh crescendo, the middle of this Picton-led number reveals a psychedelic oasis, only to fall apart under the weight of increasing tension [Was it all just a mirage?]. I love the theme here. Lyrically, an Odyssey-like surrender to comforts and earthly delights which only result in an awful, unrelenting, infernal despair. The excited, inflammatory diatribe of a 'drunken captain' takes all the attention away, a curse of curses on 'Company A'. Wonderful, wonderful. Eclectic Prog recontextualized for Indie Rock? Not quite that simple.

Greep takes back the helm for a funnily upbeat number, "Welcome To Hell". Stylistically speaking, it made me think of New Wave and Funk Rock (many sections are very much reminiscent of Primus). Drummer extraordinaire Morgan Simpson in great part gives this track a great, danceable lilt; he even has a drum solo in the second minute(!). This reasonably 4-minute tune is dramatic and epic. All forms, styles and affects are confidently theirs [Y'all like Showtunes?]. Picton takes up the mic once more on the shockingly sweet "Still", a Country-Folk ballad(?), replete with (in order of their credits listing) accordion, lap steel, whip, harmonica, resonator guitar (what I thought was banjo, I guess), tambourine, handclaps, and violin. Handsome, bucolic, classic and randomly (still) British. And then right about 2:00, we get a brief rhythmic shift which is so modern [and relatively foreign territory for BM]. Their sudden shifts, consistent since their beginning, are so ear-catching and awe-inspiring. Really beautiful stuff in the third minute, softened with a Rhodes and an orchestral backing. Dare I say, this ending passage sounded to me like Star Wars. Like "Leia's Theme" could have begun there and I wouldn't have been surprised at all haha.

Interluding briefly as possible is "Half Time", a charming rapid-radio-tuning to a DJ's intro--with Radio Raheem referenced, from Do The Right Thing--for the next, "The Race Is About To Begin". We are alluded to Jazz, but moreso Traditional Pop and specifically Tin Pan Alley. Greep gives us more impassioned monologuing, honestly one of the things he's very good at, at least at face-value. The first thing I really think of here is, for lack of a better word, speed. Everything [in the first half] is hurried, balls-to-the-wall. Regardless, in a very classic sort of way, another epic number, simultaneously exploring different styles and dynamics as it morphs. Up next is "Dangerous Liaisons", the first track to not really be intrinsically tied to what came prior. Even so, nothing is out of place here. A much jazzier number, the waltzing music really flows with Geordie's poetic delivery of what seems like a deal with the Devil. This one light-Fusion Trad Pop?... Who cares? Beautiful stuff. Best time as ever to praise the saxophone on the album, here a tenor, throughout performed by Kaidi Akinnibi. Akinnibi has featured on Black Midi since Cavalcade, and apparently performs regularly with them live.

Continuing in this very old-school fashion, "The Defence" just swept me off my feet; I'm trying desperately to lower my brow haha. And this was only made more difficult by the lyrics. From what I can tell, this is pro-sex work(?), and I frankly have no other comments at this current time [Seriously, though, the lyrics throughout have been spectacular storytelling]. On second thought, though, I believe this is a Tony Bennett cover /s. Regardless, for the Trad Pop stylings throughout, this will surely polarize a few. The Eclectic Progging continues most assuredly soon enough, I assure you, on the dark finale, "27 Questions" [Is that the British version of the classic Questions game?... /s]. Come on everybody! It's Bang On The 88s Day! This manic state doesn't last, and we close out with a ridiculous, at-all-times rhetorical recitation of these 27 Questions. What we do love is actually tasteful materialism displayed in Prog. And I mean that haha. Thankfully, our song and our album end in a most disturbed manner. Praise be.

Hope y'all enjoy! Love this band. They never cease to impress and inspire.

After some internal deliberation, a rounded-up True Rate of 4.5/5.0. Their best yet.

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