Hammers of Misfortune Albums (3)
'The Locust Years'
Release Date 1/1/2006
Tracks 8
Label Cruz Del Sur Music
See Album Tracklist and Review
What The Critics Say
Their fans inevitably whine and bitch every time San Francisco's Hammers of Misfortune keep them waiting for up to three years between albums, but most gripes are just quickly silenced when those albums finally arrive; adorned with impeccable artwork, boasting reliably stunning and unique sounding music, and topped off with lyrical imagery of the highest order. 2006's typically much anticipated The Locust Years is the third such musical opus released by the fiercely self-sufficient group, and, although it's almost surely their most challenging upon first listen, it still doesn't take too long to fall in love with its idiosyncratic blend of twin guitar wizardry, neo-classical metal orchestrations, and trademark alternating of male and female vocals. Perhaps it also helps that, thematically speaking, The Locust Years is easily the band's most grounded conceptual piece yet; boasting little of its two predecessors' Tolkien-on-crack brand of fantasy, while offering up equally stimulating allegorical possibilities closer to this mortal coil. Indeed, no amount of florid wordplay or high-end vocabulary (one is always sure to learn a few new words from a Hammers of Misfortune LP) can disguise the thinly veiled parallels to real world politics alluded to in the title track, "We are the Widows," and "Widow's Wall" -- all of which are expertly threaded with John Cobbett's rich guitar interplay. Meanwhile, on "Famine's Lamp," the contradictions of man's holy wars are impaled upon the delicate blades of Jamie Myers' angelic voice and Sigrid Sheie's heartbreaking piano figures; on the instrumental "Election Day," the latter's organ flourishes provide a lead voice no singer could have bettered; and on the spectacular "Trot out the Dead," one may simply be surprised to catch oneself singing gleefully along with Mike Scalzi on such a morbid chorus. Even powerhouse drummer Chewy is given a chance to spread out during the self-explanatory "War Anthem," where he marshals an unlikely percussive marriage between oppressive military tempos, and joyous rhythms inspired by Brazilian Olodum players. All of which mounts up to an album of mesmerizing scope and seduction (as if you couldn't tell) that is likely to keep listeners busy, looking for new clues listen after listen, and helping to ease the wait until the next Hammers of Misfortune album. ~ Eduardo Rivadavia, All Music Guide
'The August Engine'
Release Date 1/1/2003
Tracks 7
Label Cruz del Sur
See Album Tracklist and Review
What The Critics Say
Hammers of Misfortune's first effort, 2000's The Bastard, was a concept album as bold in its strangeness as it was impeccable in its execution, so much so that even when the music didn't always stand up under scrutiny, one was still guaranteed to be thoroughly entertained by the overall end result. Such is also oddly the case -- after reversing the success rates of music and words -- with its 2001 follow-up, The August Engine, whose stunning black and silver artwork scheme alone leads to heightened expectations, which its actual contents can only partly satisfy. A clear-cut case of two halves, the first is inaugurated in pounding metal fashion by an instrumental overture positively teeming with incredible riffs and unexpected twists; segues into a gentle amalgam of acoustic guitar, stark piano, and the crystalline vocals from guest Lorraine Rath called "Rainfall"; resumes thrashing intensity with the cryptic "A Room and a Riddle"; and finally concludes via the title track's frankly dazzling, nearly nine-minute display of labyrinthine rhythm and lead guitar work. So far, so good, as the above come complemented by Hammers of Misfortune's typically imaginative and evocative lyrics, detailing a dreamlike voyage to parallel dimensions marked by visions at once medieval and industrial in nature, and leaving one riveted for what the album's second half might reveal. Unfortunately, the wheels start coming off the wagon instead, as ensuing numbers "Insect" and "Doomed Parade," while only slightly inferior to their predecessors in terms of musical daring, are marred by lyrics which, reliably poetic or not, quickly move from challenging to impenetrable. By the time the album heads toward a confusing and less than convincing finale with the needlessly protracted doom stylings of "The Trial and the Grave," the plot is utterly lost, and one can only wonder if the final product wasn't perhaps rushed by imminent personnel changes on the horizon -- bassist and vocalist Janis Tanaka being given her marching papers. Whatever the cause, the meticulously thought-out story line of their debut remains unchallenged while The August Engine's instrumental portions arguably show a general improvement, indicating at best a draw. Having said all that, however, the fact remains that Hammers of Misfortune's records are still quirky and original enough to merit the attention of open-minded metal fans. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
Hammers of Misfortune spent several years writing this, the band's debut CD, and that work becomes more and more evident with each listen. Nothing less than a three-act heavy metal opera with role-playing vocals sung by the band members, the album draws on a whole range of metal influences -- from Thin Lizzy and Iron Maiden to Mercyful Fate and Opeth -- and ties them together with some Celtic folk touches to create a sound that, while it does feel a little '80s nostalgic, is actually pretty original. (The plot, by the way, has to do with a child who grows up amidst the forest and later slays his father to become king, but it's a lot more complicated than that.) The vocals are a three-way arsenal of black metal rasps, operatic female singing, and deep-voiced male singing, respectively, and they're well done, but the group's real strength is in its songwriting and specifically its harmonized dual-guitar riffing. The riffs aren't just strung together; they flow smoothly within each song and in some cases even act as recurring motifs, a prime example being the dramatic dual-guitar break that shows up in "You Should Have Slain Me" and then again in "The Witch's Dance." This ambitious piece of work is even more impressive considering that it was made on a mere eight-track recorder in a rehearsal space. Recommended to open-minded fans of melodic power metal (this is definitely not standard '80s rehash fare) and of left-of-center metal in general. ~ William York, All Music Guide
