Those destructive builders of rotted joy are back. You may call them anything you like but to us they are the optimum. In 21C music they are the yardstick you must judge other bands against. If a band is operating at 20% Teeth Of The Sea they are doing well.
And the boys are back. A new Teeth Of The Sea album is like awaiting the cyclical return of a shape shifting Lovecraftian monster. One year it comes in the form of a ginormous carnivorous squid with a beak made of metal. This year it comes with a thousand eyes and a thousand mouths eating candy floss made with E.
https://teethofthesea.bandcamp.com/album/hive
Hive is the return. It is a concept album based on….. Let us tell you it is less noir-y than Wraith, less warlike than Tarantula. Less sprawling death scape than MASTER. But that’s what it is not. What is it? It is the lightest and most playful TOTS album yet. It is more overtly beautiful. The bangers are front loaded for your pleasure. There are little bubbles of airless dub. The ambient second half is like sleeping on silk sheets. There is lots of trumpet for all you Teeth trumpet heads. The magnificent lode stone is ‘Butterfly House’, a huge slab of electro pop, like the carapace of a golden insect the size of the Brooklyn Bridge. The introduction of vox from Kath Gifford may seem like inconoclasm but on listening it’s like entering a parralel world where Teeth Of The Sea never made instrumentals.
This is the TOTS more likely to come and play at a 5 year olds birthday party, assuming your 5 year old reads Frank Herbert and loves dance floor post rock.
The monster is back and this time is dressed as both Ferry and Eno and feeling fine and frisky. Make hay while the sun shines. Next time we may not be so fortunate. We puny humans. Let us commence building the statues and the making of votive offerings.
colourhorizon 