Modern Hinterland trade in the kind of anthemic nineties-influenced indie pop-rock that I thought had gone out of fashion. The sort that bands like Morning Runner and Longwave used to ply, and I am pleased that people out there still feel there is mileage in it. Chris Hornsby possesses a characterful voice that sits well with the gentle energy of the band.
Now that there is a greater share in the songwriting, there is greater diversity in the song styles, veering from the minor chord sea shanty of “If I Knew You Well” to the deep echoing drums and US guitar attack of “Where Do You Go?”. The weary views of Hornsby take in all manner of subjects, from mental health to the collapse of dreams, and are always delivered in an accessible and conversational way.
There is plenty of blue sky space surrounding the measured strums and moody piano of “No Escape” as it revels in its high bass and heartworn piano outro, while the instrumental “Good Luck”, with its beautifully simple nagging guitar melody and trails of further guitar burning up the shining sky, is an absolute delight and something of a change of atmosphere working towards its sleek-skin crescendo.There are foggy images of other bands that materialise form time to time, but nothing that settles and Modern Hinterland continue to plough their own furrow, enlisting martial drumming on “Hard Luck” or a touch of fluffy Wurlitzer on “Did You Find What You Were Looking For?”. It is a great mix of influences and styles that stakes their own position in the musical firmament.
The final word on closer “Blue Water”, with its close-up vocals and tragic feel, slow and painful pedal steel and sweeping voices of redemption, is a strong note on which to finish. Its messy couplets but important sentiments give the impression that Modern Hinterland still have more to offer and the redemptive piano coda leaves the way open for more personal and philosophical adventures to follow.-Mr Olivetti-
