Synths versus guitars.
Ever since Miracle hit the web
it’s been the question on every Hurts fan’s lips in anticipation for ‘Exile’, the
band’s second album.
But can we really berate a band for progressing, for trying
something new? Synths may seem integral
to Hurts' 80s aesthetic, but it’s melodrama that’s at the heart of their
sound. Whatever the instrumentation, ‘Exile’
has melodrama in spades: from the grating, Muse-esque title track, to the
grandiose chorus of Miracle, the
children’s chorus of Sandman and the chorus
lyric of Blind (“Cut out my eyes and
leave me blind”). And that’s just the
first four tracks, not forgetting the blazing guitars of Cupid, the pounding dubstep of Mercy
or the apocalyptic Somebody To Die
For, amongst the fourteen tracks of the deluxe edition.
Yet every good drama needs comedy and tragedy, light and
shade. ‘Exile’ does contain some quieter
moments, namely the mournful The Crow
with its moody vocals and pizzicato strings, and piano-ballad Guilt that closes the album. Elsewhere, though, the sound is consistently big. Vocal melodies soar above pulsating
basslines, thumping industrial beats and a tumultuous crash of synths and
guitars. Individually, each track offers euphoric blasts of goth-pop filled with anthemic choruses, catchy hooks and glossy production, the sort of songs that can only be accompanied by elemental videos and tempestuous wind-machines. As a complete album, however, ‘Exile’ is just too one-dimensional; a relentless pounding to the ears with no let-up, straining under the weight of its own despair.
The result is an album that lacks variety, turning Hurts’
music into a formulaic barrage of crescendos, emo lyrics and epic
choruses. What they do, they do very
well, but sadly nothing here triumphs over the band’s excellent debut.
3/5
Gizzle's Choice:
* Miracle
* Sandman
* Mercy
Listen: 'Exile' is available now.
Watch: Hurts are touring Europe in March and April.
