The gamecock. (Columbia, S.C.) 1908-2006, August 13, 2004, Page B4, Image 14
CD. Review
Hivesfind neo-garage glory
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TYRANNOSAURUS HIVES
The Hives
*★★★ out of #####
BY SHANA TILL
TUB (lAMKCOCK
Riding the coattails of the neo-garage-rock
wave, The Hives find success in bringing smack
you-in-the-face rock to the mainstream. Not un
like pop darlings such as The Strokes, The Vines
and The Datsuns, The Hives manage to produce
a sound that’s just polished enough to get radio
attention.
Sticking with the cohesive slams of “Hate to
Say I Told You So,” The Hives improve upon
the output of their 2000 release “Veni Vidi
Vicious” with their latest LP from Swedish
punk label Burning Heart. Ironically titled,
“Tyrannosaurus Hives” is a highly evolved an
imal of an album.
The band’s Internet home page is right on
target when it states, ‘“Tyrannosaurus Hives’
is a record by a band so fired up that, if you look
closely, you can see small drops of sweat when
you open the disc.” Watching the band mem
bers perform is the most obvious glimpse at the
punch of gusto they pack. The facial expressions
and look in lead singer Howlin’ Pelle Almqvist’s
eyes tip off all listeners to the vigor they en
compass. It’s hard to believe this Swedish quin
tet was put together by a record producer, a la
boy bands. However, to give credit where cred
it is due, producer Randy Fitzsimmons was on
to something when he found a middle ground
between dirty-boy rock and the sweetness of
pop. Sure, they possess a certain mod-style nov
elty. They wear matching black-and-white suits
with skinny ties, but it works.
For 30 solid minutes, “Tyrannosaurus Hives”
pumps out catchy clioruses over super-charged
rhythms. Like any decent garage act, The Hives
know to jump right in, get to the point and get
out. The group finds no need for filler on an al
bum intent on usurping the throne from other
“The” bands.
Appeasing the masses, The Hives amalga
mate ‘60s rock ‘n’ roll and ‘70s punk with a pop
sensibility. Each track is polished but carefully
allows the bite to penetrate. “Walk Idiot Walk,”
the first single, is a tight number with a more
mechanical swagger. Frenetic bolts of guitar
are layered with Almqvist’s vocal style in a con
ception reminiscent of The Rolling Stones.
Evidence of The Stooges’ influence on the group
can be found on the track “Abra Cadaver.”
Eighth on the track listing, “Diabolic Scheme”
is the only stray song on the album. Its moments
of monotony seem to overshadow the experi
mentation and stylistic branching out.
However, the feverish bass line in “B is for
Brutus” proves “Tyrannosaurus Hives” is ca
pable of resuscitating a seemingly extinct beast.
Comments on this story?E-mail
gamecockfeatures@gwm.sc.edu
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