There is a lot to like about In Media Res, the latest effort from Halifax art-rockers Hemineglect. What we have here is an interesting rock record featuring some truly great drumming and creative instrument interplay, ultimately held back by a handful of choices and limitations.
I like the way In Media Res opens, with the layered echoes suddenly cutting into the opening groove of “Reign”, but I’d like to jump straight to track 5, “Alfred.”
“Alfred” starts with some very immersive string sounds, either processed or combined with synths to create a swirl of frequencies. A martial snare outlines a 6/4 beat. The first riff breaks in, and it’s a clever short melody exchange between bass and sax, like something out of a proggy jazz band. Then the vocals come in and it’s spoken word, and it convincingly sounds like someone is telling a story. The beat gets funkier, then rockier, then shift to half-time before moving into the next section. “That was the last time I was sane” is definitely the kind of desperate call Floyd would be proud of. Then a rebellious, almost punk rhythmic bark comes in and stays after the instruments stop, making for my favourite transition in the record. Some well-placed noises and a drone later we reach the beginning of the end; a chill electro lounge beat I almost wish lasted longer, but the song is already a delightfully heretical almost seven minutes long.
“Alfred” paints an interesting picture of what Hemineglect could be. The band describes themselves as experimental, and while that designation takes them through some familiar ground, with speech samples, echoes, and swirls, there is also enough successful exploration to warrant the label.
As I mentioned earlier, I like the way the record opens with the introduction to the song “Reign.” However, this song is also quick to reveal what I consider the unfortunate weak spot of the record; vocals. The band seems to be going for a deadpan, new wave style here, but I find it pitchy and unconvincing in a way that is hard to justify as a creative choice. It’s a pretty stark contrast, considering the obvious attention given to the music, and the effect gets compounded when the band goes for sustained notes, harmonies, and the unfortunate a Capella section in the final track “Yr Failure.”
I have a good deal of respect for the approach Hemineglect has taken in recording the vocals, since they are clearly not autotuned or edited to death. Whenever I review a record I work under the assumption that the artists are able to replicate the results live when at their best, if not consistently, even if that is not always the case. So it feels kind of weird to be more critical of Hemineglect’s real effort over someone else’s potential trickery, but here we are.
The vocals also don’t benefit from the dry, spartan production present throughout the record. There appears to be little treatment to the voices and drums. This has the positive effect of bringing the listener “into the room” with the band, and actually highlights the precise, fun, and creative playing of drummer Don Corkum, who gets a lot of mileage out of the sound.
When it comes to the vocals, as well as some pitchy viola sections, a little bit more space and movement would have helped smooth things out. Tracks like “Reign” and the third cut, “The Get Down”, also put the vocals way in the back of the mix, which rightly sets the emphasis on the music but makes the lyrics hard to understand. Production limitations are probably to blame for some of these kinks, but then there are moments like the long pauses halfway through “1984”, where I just wish somebody would have muted the gaps for emphasis.
In contrast, there is a lot going on sonically when it comes to guitars, synths, and samples in In Media Res. Most notably lush echoes and sweeps. The guitar work by Simon Kulla and Nicholas Kulik feature clear tones, cascading delays, and at times heavy distortion. There seems to be a strong focus on texture and rich arpeggio voicing in their playing. The bass by Julian Hanson is punchy and thick, with enough mid presence to contribute chords and generally use a good deal of the instrument’s range. A lot of solid soundscapes are present throughout the record as well.
In terms of composition, the sprawling nature of the tracks in In Media Res hits more than it misses, with “Alfred” being perhaps the most balanced and “Reign” feeling a bit fragmented and somewhat undeserving of its nine minute runtime. Lyrics are ethereal and fitting, with a mysterious and aspirational character that matches how the band presents themselves. Some of the additional horns make an interesting reach for hard bop, and the effect is refreshingly convincing if a little uneven.
Ultimately In Media Res is deserving of your time, especially if you appreciate creative work from passionate artists who are clearly invested in what they do, even when there are shortcomings. Give the record a good listen. I’m glad I did.