Ask me what I think of Hands Like Houses and I’ll say it outright – I think ‘BIG’. Big sound, big effect, big potential. Hands Like Houses (HLH) are undeniably one of Australia’s finest young exports. Having done their rounds of Australia, they’ve also successfully captured the affections of labels and crowds across the world. This young band are destined for the big time. Yep, there’s that ‘big’ word again; no doubt it’ll be dropped it a few more times throughout the duration of this review.
As a fan of their first full length album, Ground Dweller, I was more than keen to give their latest release, Unimagine, a crack. Immediately it possesses that characteristic HLH sound: superb keys, powerful drums, anthemic guitars and of course, that phenomenal voice owned by Mr. Trenton Woodley. With perhaps some of the finest pipes to emerge in the genre, he possesses controlled yet fluctuating vocal capabilities; his range is genuinely impressive and is certainly exhibited to its full potential throughout the album. Standout tracks showcasing these vocals include ‘A Fire On A Hill’, ‘A Tale of Outer Suburbia’ and ‘Wisteria’.
HLH most definitely have a history of bringing their guitars to the very forefront of their tracks and one can’t help but almost be distracted by the fine fret-work on display. Of course, next to the guitars, the drums certainly know how to steal the spotlight and the intense combination of the two is, at least for myself, what separates HLH from their peers. ‘Developments’, the album’s opening track definitely showcases their combined power: leads soar above a heavy and determined rhythm while percussion carries the track with precision in every stroke and kick. Immediately followed by ‘Introduced Species’, the intensity explodes during the verses and bursts into a chorus that will no doubt fill every corner of every venue it is played in – it simply possess that ‘big sound’ that so many bands try and often fail to achieve.
As the album progresses, that HLH sound resonates. While some may argue that it seems repetitive or recycled, I find that it solidifies the album. These guys know what they like and they practice their art accordingly. Upon my second and third listen of the album, I found myself drawn to particular songs, moreso than on my initial listen. In particular, the songs ‘Fountainhead’ and ‘Wisteria’. ‘Fountainhead’ is bouncy and energetic. Its chorus is impressive and the accompanying double kick from the drums just makes me love it even more. ‘Wisteria’ possess an astronomical characteristic – celestial and otherworldly. The lead guitar carries this track and its partnership with those vocals just ups the ante. I would definitely love to see this as an eventual single. It’s fastpaced but balanced healthily with softer components – definitely one of the album’s standouts.
Overall, this sophomore album definitely proves HLH are made of the right stuff. It doesn’t necessarily overshadow its predecessor but it certainly shows a growth and that is what I believe albums should demonstrate. A wonderful showcase of artistry, HLH are on the right path – big thing will definitely ensue.
7/10
Reviewer: Ashlee Kellehear