The first minute and a half of Hopewell’s new release, Good Good Desperation means very little in the large scheme of things. Trippy and harmonious oohs and ahhs splash against a delicate blanket of gentle piano work before bouncing into an edgy blues riff worthy of the psychedelic rock moniker the Brooklyn band has garnered throughout their pretty hefty career. It means very little simply because the album is an avalanche of spaced-out psychedelia and bluesy crunch, each track blasting through immense style shifts and a grab-bag of electronic toys. The first run through of the album leaves the audience grappling for a foothold due to wildly different styles and subsequent listens make pinpointing this sound a futile decision; I like Hopewell. I like this album, and I think you’re going to dig it, too. It just dropped on Tuesday, so it’s available everywhere. Dissecting the album is extremely difficult because individual ears are going hear individual variations. The premise with Hopewell, however, is that they’re talented, and there’s a little bit for everyone in their newest effort.
It’s probably not a huge secret, but there are moments on this record that require a double-take or you’ll swear you’re listening to Jane’s Addiction. I certainly don’t wish to make the rip-off claim because these dudes are talented in their own right, but it’s refreshing to hear these sounds all over again. One major movement that creates separation, however, is how much Hopewell’s sound is deeply rooted in southern blues. Tribal sounding percussion is blasted into the opening of “Island” before moving into a slightly unnerving vocal delivery and the classic blues riffs and chords hold the fort down. Behind most of the experimental aspects of the record is bluesy grit and growl, and repeat listens forge this interesting dichotomy. The title track, “Good Good Desperation” is a prime example, as simple blues chords are paired with hollowed out synthesizer noise and off-kilter vocals. Cult-like chants and singular piano note pounding make it intense and eclectic, but nonetheless, a bluesy rock song. This combo is refreshing and the band manages to toe the line extremely well from top to bottom here.
In addition to the rock n’ roll standards, dives into psychedelic space-rock are all over the place. ”10,000 Black Masses (Pt. I)” begins with a repetitive car horn somehow looped into the galloping mix of bassy rhythm that follows it. Keyboard surges and wispy synthesizer fills are intricately placed throughout and the trippy nature of most tracks are incredibly intriguing to put your ears to. Certain tracks play out as jamming walls of sound with enough vocal punch to sate your ears quickly and without apology. One listen to “Stranger” and its epic structure and arrangement leaves you in a cerebral and contemplative place. This is psych-rock for those that like the rock part of it. The electronically angular shifts are omnipresent but don’t dominate the roots of their sound. What’s left throughout the album are 10 tracks of largeness, filled to the brim with enough for everyone. ”Seen the Light” is essentially a gentle folk ballad with ballpark style organs and softly endearing vocals. Hopewell is able to slow down the chaos often to remind us of their southern rock core. It’s okay to fly with them in the spaceship, because eventually the UFO will land in a comfy place we’ve all been to before.
We fortunately get to put our ears to lots of different styles here at Citizen Dick and when Hopewell’s release hit us a little late, I was unsure how to approach it. It’s well-produced and there’s a lot to digest in one sitting. We suggest giving this one a little time as there’s a lot to take in. From slow and simple folk to crazy and frenetic tribal space rock, Hopewell has put out yet another killer release. Enjoy “Island” with full understanding that the entire record is way too difficult to represent with one free track.
