Hostage Calm – Self titled

I’m usually pretty decisive when describing albums I’ve been listening to for a good while.  I can throw out a few good artist comparisons, place the style in or between genres, and generally feel confident about my conclusions.  However, with Hostage Calm’s self titled full length, I’ve found myself questioning my usual mainstays.  Instead, the Connecticut five-piece sound refreshingly hard to place, defined by nuances entirely their own.

Not being familiar with the once hardcore group’s past discography, I can’t really comment on the band’s touted musical shift.  Apparently the album marks a directional 180 from the realm of hardcore and enters the smooth world of melodic punk rock.  The career comparison I’ve run across most include that of Crime In Stereo’s late career move to experimental.  While the analogy stands in terms a band’s gamble paying off, comparing the end result to Crime In Stereo seems a bit of a stretch.  Rather, Hostage Calm feels like a melodic punk group dabbling in indie rock (or is that an indie rock group dabbling in melodic punk?).  Whatever the case, the result is catchy without convention, and incredibly well paced.

The most addicting aspect stems from the layers upon layers of vocal harmonies.  Vocalist Chris Martin shares more with maturely spoken pace of the likes of Bad Religion than youthful poppers likeYellowcard. But it’s the delicately spoken harmonies that really give them that warm, cushioned feel.  It all fits so well together that landing on definite examples proves a challenge.  Memorable moments define themselves as stylistic departures rather than as distinct tracks.  For example, Album opener “A Mistrust Earned” almost serves as part one of two when coupled with “Rebel Fatigues.”  When Martin repeats a simple passage he does so with enough accompanying backups to make the same line sound big and fresh time and again – say one word independently, one with a chorus of voices, and another with a backing cushion of  “woahs,” and every syllable sounds warm and inviting (think The Smiths).  Place it along the myriad of genre fusions – like the Latin flare on the rhythmically invigorating “Marine Transgressions” and “Whither On The Vine” that have earned them plenty of Clash comparisons – and there’s no reason to stop spinning this twelve track grower.

Other avenues of comfort rest in the silken piano flourishes of “Where The Water Calls Home,” and the dead simple, No Use For A Name inspired drumming of “Jerry Rumspringer.”  In many respects the guitar-vocal interaction feels like that of Descendents frontman Milo Aukerman harmoniously meeting with Stephen Egerton’s unconventional chords.  While there’s more harmony here than with those pop punk pioneers, Tom Chiari and Nick Balzano’s guitars still tickle those ear drums despite such a melodic focus.

There’s very little fault in the album.  Hostage Calm has become a band with its own unique vision, and answers to no one but themselves.  My only major gripe is that the melodies are so comforting that they take away from the thematically mature themes (that explore concepts from regret to celebration).  But really, weather you focus on music or lyrics, there is no loser.  Boasting a simple but multifaceted sound,Hostage Calm redefines their career with uniquely satisfying results.