2023-04-23 17:08:33
Homecoming to the comfort zone: Marc Byrd and Andrew Thompson perform Hammock with Love in the Void from ambient back to post rock (and beyond).
Subjectively, this is a good decision following the difficult previous works, even if it is once once more possible to passionately discuss whether Hammock should rather write a how-to post-rock textbook, or rather the AI that spits out stereotypes might provide blueprints.
The truth is out Love in the Void Probably somewhere in between, perhaps as the proclaimed “loudest” (also means somewhere: most dramatic) album by the band, also beyond previous relations, but falls due to the fact that Hammock can simply call an enormously competent class in their profession even without real originality, so at any time create such an unexcited size for the head cinema in the cinematographic panorama that the resulting imaginative feel-good zone effortlessly captivates over a dynamic 72 minutes: the atmospheric wide angle is spherical and full of elegiac longing – melancholic and radiant with majestic beauty in the optimism.
Especially when the title track as a tonally uplifting sunrise in space with the subversive intensity of glaring brightness grabs or I Would Stare Into the Sun with You Forever equates to a formula-tested epiphany in his adept craft, the more accessible, more openly embracing gait of the compositions meets the Nashville duo with outstanding gestures.
Like the archetypal release first into piano intimacy Gods Becoming Memories stops and then hardly revolutionary in itself via tremolo worlds, but blossoms so unerringly, it’s simply splendid genre art – even if Hammock managed to do it even more forcefully than on their twelfth studio album. The dedication that Hammock without tedious simplicity, there’s something fulfilling and engaging regarding it.
A timeless momentum between God is an Astronaut, Sigur Ros and Slowdive is generating Love in the Void rich and voluminous, almost relaxed, wandering from intimate tranquility to opulence, whose most enchanting moments (like in the soft, downright folky-harmonic arrangement UnTruth, Undoing or Denial of Endings) but beyond the border of the shoegazing ambient, dream pop or gentle slow core give way and not only in It’s OK to Be Afraid of the Universe like the sublime symbiosis Explosions in the Sky, Mogwai and 65daysofstatic close your eyes to delve into a familiar mystery and find a meditative trance, like an unspectacular spectacle.
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