For some bands, becoming a little more accessible is the right move. Teeth of the Sea are an incredibly talented band, and I’ve hoped that more people would jump on the bandwagon. Their new album Hive is a perfect place to do so. It releases on October 6th.
Teeth of the Sea come to us from the UK. I’ve been a fan since 2013’s masterpiece Master in all its rhythmic and raw glory. I’m also a big fan of 2019’s Wraith, a voluptuous and dark work. The lineup for this new album is Sam Barton, Mike Bourne, and Jimmy Martin.
Here’s the thing about Teeth of the Sea. They have long balanced beautiful progressive electronic with rock rhythms, brass tones, and even some ideas that might come off as difficult to digest. I don’t want to say “repulsive” because they aren’t to me, but I know they can be for other listeners. They’ve been slowly finding more artistry in their sense of melody and atmosphere than in hard listens, though.
Hive is probably my favorite album from the trio. This album is equal parts gorgeous melody, soothing ambience, and storytelling vibes. It is inspired by Frank Herbert’s lesser-known novel Hive about a scientist who tries to take over the world with insect-human hybrids. Now, I think this is less about the story and more about the feelings evoked by it, and so this album can seem like a menagerie of ideas, from science fiction cinema to Vangelis to pop music. Three of the tracks are part of the band’s commissioned soundtrack for a documentary on the Apollo moon landings, too, and those tracks frame the record. The entire album flows like a river of thoughts and dreams, and it thrives in such a place.
The band also includes two songs with vocals this time. “Get With the Program” and “Butterfly House” feature performances from Mike Bourne and guest Kath Gifford, respectively, and they are both successful. The former is ragged and warm simultaneously with waves of electronic edge and an unstoppable flow. The latter is a fantastic synthpop tune with a catchy chorus and some of the most attractive synth tones the band has ever produced. I can’t get enough of it.
The opener, “Artemis”, the middle track, “Æther”, and the closer, “Apollo”, are the three pieces from the moon landings documentary. I love these three tracks. They are ethereal, reserved, and floating works with hovering trumpets and delicate melodies. They are extremely attractive, all three of them, with misty tones and faraway echoes. I think “Apollo” is my favorite of the three for its drifting trumpet melody played up against a burning yet reserved synth that feels cinematic and yet personal. I love it.
That leaves three more tracks. “Liminal Kin” is a classic Teeth of the Sea track with its off-kilter, almost industrial beat, harrowing melodies, and perfectly placed synth lines. “Megafragma” is even better with its deep, dark, driving beat and punctuated flares of light and metallic textures. It is easy to get lost in that one. And, finally, one of my favorites, “Powerhorse”; this piece feels like it will be more ambient at first, but soon dives into a melody-driven vibe with plenty of edge and lumber. I love the synth of this song so much, and it is so addictive.
Teeth of the Sea are back and I think better than ever. Hive feels quite diverse, but also unified. It is perhaps the band’s most attractive, accessible work thus far, but it still has depth for old fans. I love the synth tones and even the trumpet style they utilize here, and the whole work is just a thing of beauty. I hope more listeners will take the plunge.
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The PROG Mind 