Hurt
Vol. 1

THE REVIEW

The Hard Rockers J. Loren and Evan Johns met after Johns' producer father, Andy, listened to a Loren demo and was intrigued by the singer's voice. Once he heard that Loren was looking for a drummer, Andy Johns encouraged the two young musicians to connect. After spending some time rehearsing together, they decided that their relationship would continue. Soon, guitarist Paul Spatola and bassist Joshua Ansley joined them (Loren also plays guitar and violin, while Johns adds piano) and thus the band Hurt was complete.

A sinister name (Hurt) for this band, just as peculiar as it is intriguing, hailing from the States (N.J.). The album's entirely black cover (excluding, of course, the band's and album's name) immediately suggests something deep or, in any case, hard to decipher (the root of hurt, understood as existential discomfort), and indeed, it fully describes the essence of this musical offering.

The eleven tracks that make up "Volume 1" are a concentrate of various styles: Emo, Prog, Grunge, with influences from prominent bands (Tool, Alice in Chains, Metallica), which might seem like a crafted way to win over a large audience, but the overall result is decent, and the quartet's synergy homogenizes the work, making it smooth and enjoyable throughout. Each song conveys strong sensations in a mix of extremes, declines, and bursts on the wave of flattened, heavy guitars, acoustic strumming, electric chaos, whispered voices, guttural screams, and harmonies that gently restore calm. Shorter songs also play on multi-segmented parts that give a fleeting sensation, constantly engaging the listener. Everything is well balanced; there are no rushed or overly lengthy parts. The only flaw (at least, despicable to some) is the ambiguity and peculiarity that pervades the entire work like a wound, but this very dark sensation serves as a winning weapon to satisfy many ears that might cling to the speakers.

The album opens with Shallow, immediately showcasing Loren's vocal depth as well as the introspective and confessional nature that characterizes the CD. The second track is Rapture (for which a recommended viewing video was made), a song rich in pathos that steadily rises in tone. Then it moves from the nostalgic Overdose and Falls Apart to a more driven song like Forever, in Losing the presence of violin and wind instruments is noted, with Unkind, Dirty, and Danse Russe the contrast between agitated and calm tones is revisited. Also noteworthy are the acoustic Cold Inside and the concluding House Carpenter with its prog features, concluding the artistic apotheosis of the Yankees.

This is a record for everyone and no one, good for those who are not misled by the apparent commerciality of the offering and not recommended for those looking for an immediate, superficial, throwaway product. A record that is studied but also spontaneous, as simple as it is refined, that wishes to be listened to and understood, a stone thrown into the deepest darkness that might just hit you.

I'm not sure if I’ve been clear enough, but the CD will certainly satisfy you more than my review.