Posts Tagged ‘Hum’

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Last year, Hum released their excellent comeback album “Inlet so we’re excited to learn that they’ll be giving remastered, higher quality pressing reissues to their classic albums Electra 2000 (1993) and You’d Prefer An Astronaut (1995) soon too! Guitarist Tim Lash writes:

Hi all, First off, the band sincerely appreciates all of the generous support and kind words we’ve received after releasing Inlet. We’re not the best at responding, but it means a lot. So thanks again, from all of us! Over the last few months, we’ve successfully navigated through some licensing stuff allowing us to re-release updated versions of Electra 2000, and You’d Prefer An Astronaut on vinyl. Our plan involves re-mastering and cutting higher quality pressings of these two records. Our hope is to do CD’s as well if possible. We’ll post another update once we iron out all of the details on release dates, label, etc… Since we’ve seen some inflated prices on the secondary market for our older records, we wanted to let people know as soon as possible. If folks don’t mind waiting a little longer, we’ll be able to produce a higher quality pressing that we have control over, and are proud of.

We’ll also have more copies of our Downward is Heavenward re-issue available in the near future as well. We hope you all are healthy and well, and 2021 turns out to be a little easier for everyone. 

As Tim said, more copies of the recent Downward is Heavenward (1998) reissue are on the way too. It’s currently sold out in the Earth Analog store but stay tuned. Last month, the band advised to avoid the secondary market because “you’ll just end up paying more than it’s worth.”

If Lush measures a 2 on the Swervedriver-O-Meter and My Bloody Valentine a 7, Hum is a definate solid 9. Unlike most American disciples of the shoegaze boom, this Illinois-based band delivered metallic riffs — riffs sludgy and heavy enough to earn fans like Deftones (Chino Moreno famously cited the band as an influence), Deafheaven, and possibly other metal bands beginning with the letter “D. Where have this band been or what have they been doing all these years.

On Hum’s overdriven “Waves,” you can hear the windy central guitar line try to outdo itself in real time as their pedal-fiddling reaches life-affirming heights. Its mythical scale is only enhanced by lines of an apocalypse—but a calming and poetic one at that: “And the traces of morning will lead us to the end / Where the dying landscape meets the water / And the waves of you roll over me again.”

Hum’s appealing mix of fuzzy swirl, post-hardcore intensity, and interstellar imagery reached its peak on 1995’s You’d Prefer an Astronaut, which even produced a minor rock radio hit with “Stars.” The band’s brief major-label run concluded with 1998’s Downward Is Heavenward, which also seemed to be the end of the band’s recording career — until a month ago. Inlet, the band’s new, long-rumoured fifth album, evokes cosmic expanse with lengthy, extravagantly textured burners like “Desert Rambler” and “The Summoning.”

When an album this thick drops out of nowhere, it’s bound to reverberate. For years, Hum had been providing regular updates on their first album since 1998’s Downward Is Heavenward. Yet when Inlet emerged without an official announcement or rollout in June, it was the best kind of startling. An even better surprise: The album holds its own with the Illinois space-rockers’ best. Inlet is monolithic in its splendour, its dense, churning power-chord riffs glazed over with a faint hypnotic glimmer. Few artists measured up to its heaviness or its prettiness in 2020.

It doesn’t seem like a good idea for any band from the 90s to reemerge now, in 2020, with their first record in over two decades. So much has changed. But one incredible thing that happened this very strange year was that Hum yes, “Stars” Hum—dropped with an absolute banger of an album, their first in 22 years. In their earlier days, Hum were outsiders, never fully fitting into the boxes of alt-rock or shoegaze or grunge. But they influenced so many contemporary bands that now, they somehow feel more modern. Sculptural, exploratory, and meditative, Inlet is a continuation of a concept (perhaps most succinctly put, “space rock”) and an ambitious re-examination of the possibilities of texture. Proggy without being nerdy, hard without being not angry, and vast without being hollow, it’s a mushroom trip through the cosmos, from the oceanic opener “Waves” to the swirling “Step Into You,” which offers an escape to “a desert that blooms in our darkest days.” “I’m lost,” sighs singer and guitarist Matt Talbott. That’s fine; just take us with you

To date Hum has only made one album. So in terms of recent achievements, the wholly unexpected “Inlet”

Hum’s first album in 22 years goes beyond the average expectations of a reunion album and pushes Hum’s sound in new directions left and right. It cements their legacy further than ever before, and it just might turn out to be their masterpiece.  I think many of us needed this without knowing, particularly those of us who love Hum and never imagined another album. Despite the undercurrent of melancholy in Hum’s music, that “look to the stars” hopefulness, and the lyrical explorations of when science, consciousness, and love intersect. Often times, a reunion album reminds you why you fell in love with a band in the first place, proves they’ve still got it, and helps re-establish the band as a force within an era that they had long been absent from. But in rarer cases, a reunion album cements a band’s legacy further than ever before, closing a book you might not have realized had been left open. Inlet, Hum’s first album in 22 years, is the latter. This type of heavy shoegaze/alt-rock is arguably more prevalent now than it was in the ’90s, thanks to Hum’s influence, and as good as many of Hum’s followers are, Inlet is the album that this distinct subgenre needed. Hum were maybe ahead of their time, and it’s as if they needed the world to catch up with them before they could release what may turn out to be their masterpiece.

Released June 23rd, 2020


All music written and recorded by HUM at Earth Analog and ELL.

Band Members:
Jeff Dimpsey,
Bryan St. Pere,
Matt Talbott,
Tim Lash,

Image may contain: 1 person, on stage, playing a musical instrument and guitar

There was the shoegaze phase some years back so at some point, after working my way through the staple bands (My Bloody Valentine, Ride, Slowdive, The Jesus and Mary Chain, etc.), I stumbled upon Hum possibly through fellow ’90s Chicago bands Pinebender or Lovesliescrushing. Hum were more aggressive than many of the other shoegaze bands I was listening to, thanks to their post-hardcore and metal roots, and their 1998 album, Downward Is Heavenward, left a big impression on me with its scorching riffs and heavy use of phasers. Two years after that album came out, they got dropped by their label and called it quits, but this week, 22 years after the release of that record, they surprise-released a new LP called Inlet. As expected, there are plenty of thick, driving and flat-out thundering guitar passages (“Waves” and “The Summoning” will blow your head off), and their sensitive, mystical sides come out too (“Desert Rambler,” “Shapeshifter”). It’ll take a while to explore all the nuances of their smouldering soundscapes, but this album is an instant listening winner.

Hum is happy to announce the release of our new album, Inlet. Vinyl (180g double LP), CD, pre-order via Polyvinyl Records “Waves” the first single from  Hum’s new album “Inlet”Earth Analog Records Released on: 24th June 2020.
The Band:
Matt Talbott,
Tim Lash,
Jeff Dimpsey,
Bryan St. Pere,

The record is also available for consumption at and will ripple out to all digital platforms within the week.


As of this week, and at last it’s finally here. The second album release from “Hookworms” album titled “The Hum” on Domino Records has arrived and the release goes as far as trumping their debut album released in 2013 Pearl Mystic.To celebrate, the band’s next release from the record, ‘Off Screen’.
The song sees “Hookworms” edge slightly away from the high-octane noise they have become most known for, instead a more psych and shoegaze type sound.