Seattle’s unsung post-punkers stretch out from their excellent second LP, 2009’s Where Hearts Go Broke, making a break towards wildly ambitious art. In my issue 64 #21 pick, I compared the former New York band with early ‘80s pioneers such as London’s The Sound and Manchester’s Joy Division/New Order and The Chameleons, cool similarities that still colorCasino—only more latently. And when I recommended, “They could exhibit more of a thematic grasp,” I little expected a concept LP song-suite, as striving as its music is engrossing! Leader Blake Madden and mates use spacey dynamics to build towards crescendos of echoing, flitting, ear-dazzling sounds with the panache of early ‘80s Cure and Lodger-era David Bowie, wittingly providing a cosmos-contemplating soundtrack of caterwauling sound in crashing guitars, ghostly synths, tribal-rhythmic-pattern drums, minor Ennio Morricone motifs, and Madden’s barren baritone. From the sprawling, attractive punishment of “Lonely Islands” and “Bat Watusi” to the neo-shoegaze cathedrals of the title track and “Sleep in Fame” (a Kitchens of Distinction/Curtain Society/Asobi Seksu/Lost Patrol/Sleepover Disaster-like post-Cocteau Twins conundrum), plus an allegorical tale of a secret agent’s struggle to save the universe from an dark prince bent on Armageddon, Hotels’ spectral spectacle is 38 minutes of vividly conceived modern spy movie music; a long-shot “casino” bet paid off.
What the world needs now is a band that spins round and round so fast that it can create sonic whirlwinds of such size that your ears cannot ignore them and should you need evidence that such bands exist then you should tune your ears to the sound of Seattle based band Hotels.
A concept album of sorts from the Seattle band with a madly ambitious premise, too good not to quote from the press blurb. The plot concerns a "secret agent, his former mentor and current arch-nemesis, and a nefarious prince's plan to destroy Earth during the grand opening of the universe's only outer space casino complex" (!). This would be good enough in itself but happily the musical chops match the scale of the ambition, with elements of surf-rock and post-punk, a dollop of film soundtracks, as well as a hint of decadent and very welcome lounge. You may already have had the great pleasure of hearing first single The bat watusi, a wonderful Dick Dale-style bassline strapped onto a louche vocal with ray-gun synths in pursuit. A shimmering suite of tunes overall, which eschew standard verse-chorus structures but still retain a firm grasp of pop dynamics (for example, the delirious crescendo of From the west, the glorious wall of sound of the title track, the John Barry-like uplift of Sleep in fame). And at the centre, Blake Madden's sonorous croon. Highly recommended.
Two years after their well deserved critically acclaimed sophomore album Where Hearts Go Broke the Seattle-based sci-fi pop band Hotels releases their third album; On The Casino Floor. A seven track concept album that moves their cinematic sound close to fulfillment.
On The Casino Floor tells the story of a secret agent, his former mentor gone bad, and a devious prince's plan to destroy the universe's only space casino complex. Not surprisingly this gives a soundscape made out of spaghetti western images, and romantic Bond-like moves, added just a dash of Star Trek. A most charming combination.
The opener, "From the West", is a lovely gothic-surf-tune, that bows pleasantly to Morricone, yet keeping its own distinct synth theme, that briefly returns in the short, instrumental fifth track, "Smith Lands On The Casino Planet". The second song, "Lonely Island", provides a fuzzy melancholic feel, where Blake Maddens' baritone lingers just on the edge of ethereal goosebumps. Then there is the seven minutes majestic, delightful and dreamy title track, that tingles into the distressed, yet playful dark-lounge rock single, "The Bat Watusi". "Trouble At The Consulate" turns even darker, with its somewhat agitating cold disco-out-of-space-beat. Before it all adds up in the closure, "Sleep In Fame", a shoegazed star-pop dream-piece of a song.
In short, Hotels have with On The Casino Floor delivered an almost epic musical storyline for a space movie that were never made. But, I sure would have been first in line to see it, just based on the magnificent soundtrack.
Hotels fuse elements of new wave, goth, and surf so seamlessly that genre tags will be the last thing on your mind when you hear their bittersweet, atmospheric pop songs
On its second effort, Where Hearts Go Broke, Hotels have really put together a record of cohesive '80s electro-pop. It's not just synths and no heart- there are some really great songs here. Think Depeche Mode.
With angular guitars, sober vocals, omnipresent synths, and a taste for the cinematic, Hotels come off like the ultimate ’80s soundtrack band, something akin to a cross between the dreamy haze of M83 and the angsty garage rock of The Strokes
"Smart, catchy, '80s-influenced electro-pop with propulsive rhythms and sparkling melodies."
The third band to play was Hotels, who I’ve known casually for over a year but - have never seen outside of a show or club. They have an electronic, keyboard-heavy sound that seems influenced by OMD or Depeche Mode and whose singer, Blake Madden, reminds me an awful lot of Ian Curtis (at least his harmonies do) – albeit more stable and less self-destructive.
Hotels was the first band this night to get a few people dancing (although many more presumably would for Rourke’s set). They really have emerged as a very good and very consistent rock band. Their sound often has some surf guitar parts to compliment they keyboard parts. They had just gotten a new keyboard player (whose name I’m having trouble confirming online) who seems to have grown more confident as he’s spent more time in the band – and on stage. While seeming nervous at first, he started to get more comfortable on stage and the band got better and better. They finished around midnight, just as I had to run out the door to catch my bus home.
I first heard Seattle quartet Hotels when I happened to see them playing a show last August. I immediately fell in love with their music, clearly inspired by some of the great bands of the New Wave and post-punk genres but sounding as fresh and exciting as the pioneers they emulated. I went home with a copy of their first album Thank You For Choosing… and their music playing in my head. It wasn’t until the next show that I realized some of the songs I recognized as familiar favorites weren’t even on that first album; I was hearing them for only the second time ever, and yet they’d been in my head for weeks. That’s the kind of band Hotels is, and that’s what’s on their second album Where Hearts Go Broke, released as a digital download on Valentine’s Day, February 14, and available at Sonic Boom and Easy Street record stores in the Seattle area in the following week.
Hotels have a slogan of sorts, “Travel. Romance. Solitude. Rest…”, which aptly represents the various elements of their style, at times dreamy and distant, at times visceral and vital. Take the opening track and lead single, “Hydra”, with its ringing guitar line playing tag with the keyboard and bass, inviting you to get up and dance. This upbeat track is immediately followed by “Near The Desert, Near The City”, a slower wistful affair evoking distant landscapes and loneliness. Often the same song is both moody and body-moving: “Port Of Saints” speaks of feigned indifference to a lost relationship, but the driving beat reveals the drama the lyrics pretend to hide.
Throughout the album, the combination of beautiful guitar and keyboard melodies, complex bass lines, and solid drumming create a very rich, full sound. Lead singer Blake Madden’s dry, deadpan delivery is perfectly suited to the music, conveying either passion or dispassion in equal measure as appropriate. “Cafe Martinique” is a great example of how all the parts build up to a gorgeous whole. Where Hearts Go Broke is an excellent album from a rising band, and I expect to see Hotels get a lot of attention this year.
Hotels will be playing their CD release show at the Sunset Tavern on Friday February 20th, along with Point Juncture WA (who will also be celebrating their CD release) and The Animals At Night.
Hotels are one of the latest acts to join the Hidden Shoal family, making themselves right at home with their spacey sound. And when I say spacey, that’s exactly what I mean - this is pop made in outer space, sci-fi pop if you’re so inclined.
Album opener and first single “Hydra” sounds like an updated pop version of the theme to cult science fiction TV-show Lost In Space, while the lush “Near The Desert, Near The City” has us floating in weightlessness, and tunes like “Leilani” and “Port Of Saints” makes me imagine little green men dancing around.
Don’t get the wrong idea though - this isn’t strictly electronic music. While the synthesizers add that little extra sci-fi touch, so do the surf guitars, the thrumming bass and action drums. Picture a more cheerful Joy Division playing in a different galaxy and you might have some idea of what Hotels sound like. Where Hearts Go Broke has its somber moments as well though but overall it’s a pretty fast paced, not to mention fun album.
Where Hearts Go Broke is available through the HSR store and n5Mailorder as well as iTunes, Amazon and eMusic.
