HUNNY – “Yes. Yes. Yes. Yes. Yes.”

Review by Nick Spezzacatena

HUNNY recently dropped an album called Yes. Yes. Yes. Yes. Yes. This album is very interesting, and honestly a breath of fresh air for me. They obviously took influence from other great bands, but they still managed to incorporate a distinct style of their own – different enough from everything else in this vein, but not so different that it stands out particularly. OK, it’s actually a little difficult to pin down.

HUNNY is a band out of California that worked with producer Carlos De La Garza. Garza worked with Paramore and you can definitely hear that style in this album. The whole record has this driving down the highway windows rolled down with the beach to your right type of vibe. Musically it stays very upbeat, and feels like summer dance music. Lyrically it’s a completely different story.

The album is full of classic break up tunes, enveloping the feeling of sad loneliness, with the intent of moving on. The lyrics are ultimately 2000’s Emo in style, which I’m not upset about at all. The lyricist makes plenty of 80’s references throughout the record, and if you’re careful you can pick them out. They have super catchy melodies, that sound similar to something a minders iteration of The Cure might write.

According to their website they took influence from Depeche Mode for their synth sounds, which is definitely heard on a couple songs. I wish the synths were more at the forefront of all the songs and not hidden so far back since they are such great patches. The bass was screaming in these mixes, which being a bassist is nice to hear the bass being showcased. I have to admit though it was a little much. All in all though it is a good record and a lot of fun to listen too, a couple songs weren’t the best and you can tell they are still trying to find their sound fully. But I would say definitely give HUNNY’s new album a listen.

Pixx – “Small Mercies”

Wait. You mean to tell me this ISN’T a lost recording of the 1980’s British synth pop group Yazoo? …It sure sounds like it.

The song structure is smilier to something Vince Clark would perform, the drum patterns are distinctly early 80’s, and Hannah Rodgers’ voice is strikingly similar to that of Allison Moyet. None of this is a critique, the life of Yazoo was cut too short by the success of Clark’s other band Depeche Mode, and it was unfortunate the band only released two albums. If it was 1981 “Andean Condor”, the single off of “Small Mercies”, would have been a billboard top 5 hit for weeks. 

I think this record needs more attention really, having seen The Men Without Hats at an empty dive bar in North Phoenix a while back, I could say that the market for new wave is dying out, but I won’t. I think there could be a market for this stuff again, but I think it’s going to take a really solid record like this one to rise up out of obscurity to get people interested. Honestly I think this album is stellar, it’s on par with “Speak and Spell” “Upstairs At Eric’s” “Dare” or any other great early new wave piece. I would really like to see this record getting passed around the purist new wave community. Yes, the old stuff is great, we all know that, but there are also new records like this one that need to be heard. Gary Numan is still touring, The Men Without Hats still plays some shows here and there, put her on stage supporting some of those guys and see what happens.


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