Fascinating modern rock music from American trio
One of the nice things about running a website such as this is when a band you have not encountered before contacts you and trusts you to write some words about their music.
Half Shell are a young band hailing from the northeast of the USA, with Nicole Hogan on vocals, Caitlin Kullberg on bass and guitars, alongside Jesse Guterman on drums and keys. They describe their music as combining progressive rock with alternative and electronic music, being both existential and grim whilst delivering catchy, upbeat tunes – a fair old statement of intent if ever I saw one. The band kindly sent me their newly released second album, The Great Truth, which follows on from their debut Truly Tragic in 2018, and it has grabbed the attention of a couple of prominent reviewers.
This album is very much outside of my comfort zone. That, of course, is a huge positive. This website loves the new, the innovative, the different. Music which takes you to a place you are not used to. It is an album which demands to be listened to as a whole, as an experience, to drink in. It is a fascinating work, they are a very interesting band, and The Great Truth drags you into their world, perhaps without you being wholly conscious of it.
Musically, the trio are extremely accomplished. The voice of Hogan does grab you right from the start. I really could not describe it as anything other than unique, deep, harsh in places, but quite delicate in others. Some of the bass grooves and riffs provided by Kullberg are stunning, bearing comparison with the finest exponents of the instrument, whilst Guterman rises to the challenge of providing a worthy rhythm section with aplomb.
There is a huge amount going on throughout the album. There is a rather dystopian electronica thread, supported by at times a stunning rhythm section. There is also a rather lovely delicacy shown. Exile, which I have embedded below, is beautiful, a strong track which lives in the mind for some time after the last words fade out. This mood also comes on in the wonderfully named Prometheus In The Flesh – the opening passage is very delicate, and reminds me of one of my favourite pieces of music, Soulprint (For Mother) by Introitus. It is also very catchy, and the trio demonstrate throughout the album some strong vibes which I can only best describe as alternative pop.
If you like jazzy grooves with a modern streak, then look no further than Answer in Hand. This is a single release, and the video is embedded below. The denouement is nicely delicate as a comedown. However, for jazz which is shockingly dark, then hear the introduction to Dystopian Dream. However, this is interspersed with some sadder notes and heavier chords, so rather well bringing out the contrasting emotions one feels subconsciously when entering the other world. Three minutes in, there is a fine passage which cries out sing along with me, “isn’t there a better way, a different way, no way, no way……” and it is staggeringly good.
There is whimsy. Shot Messenger with its swirling keys and Sideshow Wasteland, dark at its core, but as a contrast much to smile at – the band’s musicianship is a marvel on this.
There are tracks which are influenced by the more mainstream progressive rock most readers of this review are familiar with. To Be The Bearer of Bad News reminds me of mid-career Radiohead, with a lovely piano and a bassline to die for. As it develops, the track becomes more expansive and perhaps more “typical” progressive rock.
Clutching to…..Clinging to….. features some 70’s keyboard sounds, and some of it reminds me of Gabriel’s early solo work. Again, the bass is incredible and worthy of comparison to Levin himself. The pop sensibilities of the band return with a vengeance and this is a fascinating piece of music. The closing passage is brilliant with crunching drums, deep bass grooves, and a light keyboard solo in contrast above it, perhaps as close to “traditional” progressive rock as the album gets, with a warm vocal to close.
We have expansive rock. The closing passage of Too Many Wrongs to Right, which features some gorgeous high notes reached to contrast with the monotone below, expands strongly at the close, as does Sisyphean Nightmare which I can only describe as heavy robotic rock, extremely dark and somehow hypnotic.
The album closer is Repeats Itself and is the longest track at over eight minutes long. There is a lovely piano to start, and the opening vocal is beautiful, fragile and longing. The sadness spoken about is very much real before the track explodes in a cacophony of glorious noise. Indeed, this piece exemplifies a lot of what is going on in the album. Noise, quiet, beauty, stark, some classic sounding keys, some clear pop moods.
You can listen to the album at https://halfshellmusic.bandcamp.com/album/the-great-truth and it comes highly recommended.
You can’t classify an album like this, aside, I suppose to describe it as being truly eclectic. What I will say that is if this is the sound of American rock music moving into the mid-21st Century, then we are in for a pretty exciting ride. It is also great to see such a strong female fronted act.
Very much recommended.