hot hot heat

makeup the breakdown

‘Cross the energy and mod rock intuition of International Noise Conspiracy, the beats of Blondie, the playfulness of Pavement, and just a pinch of Jonathan Fire Eater for good measure, and you have “Makeup the Breakdown.”

Hot Hot Heat’s new album is a toe-tapping reverie, an earnest attempt to take another stab at recreating the MTV-manufactured New Wave movement of the 80s. It’s a combination of the bookend extremes of the genre, the lo-fi upbeat rock of the likes of The Clash, and the well-crafted intelligence of the Talking Heads.

In addition, there are obvious similarities between Hot Hot Heat vocalist Steve Bays and The Cure’s Robert Smith. Somewhere underneath the surface, too, there lies a connection to the mid-’90s, a reference to “I Should Coco”-era Supergrass.

In short, Hot Hot Heat channels influence after influence through their aboriginal BC rock. (That’s British Columbia, Victoria to be precise.)

“Makeup the Breakdown” is strategically assembled. It consists of tracks that take over the hips and feet of the unsuspecting listener, instead of just inspiring the average neck-bobbing of the run-of-the-mill rock album. It moves in, takes over, and moves back out before it’s noticeable.

Ten tracks in just over half an hour. Ten powerful tracks at that, unlike the in/out procedure of two-minute Ramones-esque rock. It’s not the same track over and over again, although the subtle influence of each song might be persuasive enough to cause you to hit “repeat” a few times.

It is difficult to rate the good and the bad cuts on this album because each composition succeeds in maintaining its own individuality and credibility. Of course, it is only natural for some songs to stick out at least a little bit further than the rest. The three tracks taking permanent residence in this reviewer’s brain are “Oh, Godamnit,” which beckons to be listened to again and again; “Bandages,” whose soulful groove and Rolling Stones-reminiscent guitar parts make this song an instant classic; and “Save Us S.O.S.,” an inspiring composition that will prod the listening musicians to craft something as good.

Surprisingly, Hot Hot Heat’s freshman effort, the EP “Knock Knock Knock,” is said to be a far superior album to “Makeup the Breakdown.” This may be because it was produced by Death Cab for Cutie’s Chris Walla.

If the relatively obscure “Knock Knock Knock” is truly the better album, it must be amazing. The band’s sophomore release lets little slack from track to track.