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FAUX DISCX / GRINGO

Hookworms

Hookworms (Repress)

    Repress!!!

    Faux Discx and Gringo Records are psyched (no pun intended) to announce the debut vinyl release of Leeds' Hookworms. The Hookworms 12" features 4 songs, clocks in at around 27 minutes, and is limited to 500 copies on 180g black & white splattered vinyl. 

    The release was previously only available on tape via Sun Araw's Sun Ark label and that sold out in a matter of weeks. Hookworms formed in late 2009 at a time when most of the group’s members were also playing together in a snappy punk group. The punk and garage background is important, because it has a lot to do with the energy that makes Hookworms so noticeable. Many groups think they can make good on psych-rock by just wigging out to their own ends, during interminable jam sessions that only come to a halt when someone decides “That’s long enough.” Most of Hookworms’ songs are around the six minute mark, which isn’t long at all, and each one is constantly doing something. The singer and keyboard player delivers his vocals like The Gun Club’s Jeffery Lee Pierce on Fire of Love - frantic and impassioned. The guitars colour in and around the lines, informed just as much by Flipper’s Ted Falconi as ‘Sister Ray’. Bass grooves lead the way, sage in their wisdom over which path to take. This is tidy stuff, a purposeful and fully conscious journey into the realms of Zoss. It’s also a journey taking place on increasingly large stages, where they’re just as confident at filling the sonic space as at the small venues where they started out.

    “Hookworms fling themselves headlong into classic 80’s/90’s psych-rock like they’re trying to break something. Hailing from Leeds and cramming themselves giddily within the well established formal properties of the genre, they walk the scorched road behind Loop, Spectrum, and any other titan of two-chord songs who’s ever slowly wah-ed a chord until they saw colors. Most excellent burners!” Cameron Stallones, Sun Ark / Sun Araw.

    FORMAT INFORMATION

    Coloured LP Info: Long awaited repress on Black & White splatter vinyl! 500 copies only.

    The long-awaited follow-up to 2012’s best-in-show 'Persistent Malaise' offers at least 33.3% of its buffet to shimmering, inward, mulch-heavy ballads — ‘A Change of Course’, ‘The Shaping of the Dream’, ‘Murmur of the Heart’ — showing a sensitivity that inevitably does nothing for the craft beer revolution. If truth be told, the remaining 66.6% threatens to look equally indifferent when served on a wooden board or beside a miniature stainless steel plant pot of hand-cut triple-cooked fries, but such is life.

    These songs are mostly about discouragement and the black dog, the tepid whines of self-inflicted unemployment, the repetition of life’s repetitions, the creative dormancies of romantic contentment. Disappointingly there lies no outward mention of pop-up launches, sides of ‘slaw, chakra schools, the urban woodsman or an allusion to an artisan approach.

    Across its 38 minutes, the 'The Hanging Valley' instead covers such further peripheral subjects as the imperceptible bow towards the thirty-something honours list, the vacuous, rising diphthong of the inner-city commute and the suppressed rush of blood towards vainglorious internet smear.

    ‘Now a quartet of fraternal pedants’ whimper the band’s dusty social media accounts in reference to the twilight addition of Lindsay Corstorphine on the bass guitar, ‘cascading down the woodwork, slapping the pegs’ as he goes, dear reader. In truth The Hanging Valley owes us much to Corstorphine’s ample stringmanship as his encouragement toward loosening the conservative shackles of olde. Certainly a weakening of the old guard has taken place somewhere, the gamut of emotion ridden more obliquely and less shamefully now. Ballads stare teary-eyed out of windows towards rain-swept rivieras, vocals and guitars have pulled themselves gamely out of the reverb-soaked hollow and those ‘for the rockers’ — ‘Slippery Slopes’, ‘Severed Estates’, ‘Fugue States’ et al — no longer grasp for the safety of the halfway house but aim for the stars. ‘More sherberta tambourine’ they cried in the studio, and more sherberta there was.

    Between late 2012 and early 2013, both Fisher brothers, Patrick and Oliver, relocated to independent lodgings in the predictable London borough of Hackney whilst Dan Reeves remained in the coastal enclave of Brighton & Hove, West Sussex. Sporadic melody-making sessions between Fisher, O and Reeves had already cemented the nucleus that would become The Hanging Valleyby the time ‘live music fans’ hailing from the East of England were sent o’er the moon upon the announcement at a press conference at Leyton Orient’s Brisbane Road stadium that LAC (nee Lindsay Alexander Corstorphine) had joined the band in a full-time four-string capacity. Legend says his controversial initiation had taken the form of a gruelling 5 (five) day tour throughout some of the Benelux’s most scenic highways and byways.

    During a long weekend in Barcelona in February 2014, the new quartet spent Valentine’s Day together and cycled along the seafront as far as the Nova Mar Bella before playing a passable show the following afternoon. The paparazzi hubbub covering the mini-break was soon to be eclipsed by the announcement that Reeves was to become a father for the first time. Fittingly, Dan was only ever one letter away from Dad, and so it proved, when, following the ‘locking down’ of each of The Hanging Valley’s nine precious numbers at Mark ‘Mug’ Jasper’s Sound Savers studio in predictable Homerton in early October 2014, Reeves abandoned the limelight in order to assist upon seeing young Elliot into the world. At his son’s launch event at Brighton’s Churchill Square shopping centre Reeves was heard to exclaim that his would be ‘a lifetime of experience, bleeding from the speakers’.


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