A Major Shift in Sound

The five-member psych-rock band, Hookworms, has been together since 2011 and has recently released Microshift, their third full-length studio album. The members took a notable three-year break between their last album, The Hum, and this album. As fans patiently waited, the group worked on fine-tuning their sound while also fighting some personal battles. As all art does, music parallels the ups and downs of the artist’s life. Thus, as the band was going through personal transitions, their sound also evolved. While much of their past work could only be described as rock, the sharpness of this album brings something completely new for the band.

Although only consisting of nine tracks, three of the tracks hold a lot of weight. The first is “Negative Space,” which is also the first track on the album. The song is eccentric and bubbling with electronic and distorted noise until the vocals of Matthew “MJ” Johnson kick in after 80 seconds. The futuristic sound pairs perfectly with the smooth and emotional vocals. As the track is nearly seven minutes in length, Hookworms is able to explore many genres throughout this one piece and introduce their new inspirations and sounds to fans who were familiar with their previous works. This one song alone proves that Hookworms is not trying to hide their transformation; they are laying it all out on the table. “Ullswater” is slightly over seven minutes in length and features waves of futuristic beeping before guitar kicks in and builds, giving the song a more alternative rock sound. After a while, the beeping is simply a supporting undertone to the alt-rock vibe which is highlighted by heavy drums and gritting vocals. About five minutes into the song, the sound of pure rock takes over and a strong guitar solo ensues, only to fade as the futuristic beeps close out the track.

The longest track of the bunch is “Opener”– the fifth track on the record. With eight minutes and 35 seconds, the track takes its time to build. Miscellaneous feedback and pure noise slowly build in intensity and volume for the first two minutes until an upbeat synthesized tune jumps in. An aura of empowerment washes over the song. Similar to the other extensive tracks on the album, this track has periods of techno-pop and psych-rock, showing the versatility of the band.

While the overall sound of the album is upbeat and electric, it is juxtaposed with complex and often dark lyricism. The emotional lyrics tackle themes of mental health and darkness of the mind. In “Shortcomings,” MJ muses “Don’t be so self-destructive / I can’t hide, I’m feeling fallow” as if singing to himself and his own mind. Other songs ponder the feelings of desire and lost love. In “The Soft Season,” he sings “I’m empty and ashamed / I’m floating down a drain / I miss all your habits… I’m glad we had that soft, soft season.”

While the band’s past works were full of noise and intensity, this album is clean, tactful and methodical in each note it offers. Although a big change, Microshift is not to be dismissed. It is vibrant, energetic and carefully crafted. While some fear change, Hookworms embraces it. This album shows how their sound has evolved and leaves listeners excited for where the band will go from here.