Not really gaining much recognition in the U.S. until the more recent years of their career, The Hives have actually been around since 1993, practicing and perfecting their skill. From these many years of labor comes their newest creation “Tyrannosaurus Hives.” Technically their fourth album, it’s a much anticipated debut since their switch to a major label and year and a half hiatus from the music scene. But the Hives are back with a further evolution of their garage punk style, and mixed emotions are trailing behind the release of “Tyrannosaurus Hives.”
Opening the album is an overwhelmingly energetic track clocking in at one minute and thirty-three seconds: a brief but clear explanation of everything you’re about to experience. Following this track, entitled “Abra Cadaver”, is an equally chaotic serving of The Hives, giving you no time to catch your breath from the hard core tempo of the first track. But aside from rattling your nerves, these opening tracks succeed by drawing in listeners for further exploration of the intense yet catchy collaboration of mechanical guitar and robotic percussion. Unfortunately following, however, is the first single “Walk Idiot Walk.” While the lyrics humorously reflect on the absurdity of life as we know it, the instrumental accompaniment feels a bit empty. Presenting itself as a cheap knock-off of the Rolling Stones, the whole track sounds like a tune that would have been written in the earlier stages of The Hives. Rather than drawing on past rock for influence and formatting it for today, a technique that The Hives seem to understand, the track just fells outdated. Another roadblock in this intense musical journey is the structure of the track “Diabolic Scheme.” Unfolding with a refreshing visit from the violin, the song ends with a discordant guitar riff that upsets the validity of the composition. Besides the moments of unmistakable music failure, the trend of the album is borderline addicting. A probable result for many listeners will be the nonstop presence of the album in the stereo, followed by an early retirement for some time.
The validity of the band is somewhat tarnished by their background. Formed in 1993 by similar fashion of a boy-band emergence, the basis for their existence came form the idea for a manufactured band of guys in matching black and white suits that would take the world of rock ‘n roll by storm. While these self-taught Hives can pump out a pretty decent run on their instruments, they seem to be lacking the heart ad fire that resides within a true musician. Excitement is no doubt at the core of their music, but excitement never needs depth to be present.
The Hives seem to be onto something with the presentation of their sound, yet at the same time, so do The Strokes, The Vines, and The White Stripes. If you’re a fan of “The” bands, you’ll probably discover that The Hives are for the most part succeeding in giving us more of that colorful underground punk that appears to be resurfacing; just be aware that their interpretation is a bit more poppy and fast-paced. It’s possible that after your thirty minute embrace of “Tyrannosaurus Hives”, you’ll feel exhausted and unsure of just how well your heart can catch the intense tempo of their music.
But if you’re up for it, this cocky yet humorous group of Swedes will have you nodding in obedience to their rule-breaking rhythms and nostalgic style: a style that they satirically seem to think will find its way to the top.