HUM:
Hum’s sonic universe is a solipsistic world that exists on its own terms, a maelstrom of sensations and colors, a thick metallic vortex of fuzztoned guitars with a silent core at the center like the eye of a hurricane – equal parts homegrown and high-tech. Hum serves up a cacophony of overlapping harmonics and dense shards of electric guitars providing a counterpoint to Talbott’s tales of innocence corrupted and love lost, the past mourned, the theories of physics and relativity applied to modern-day relationships and contemporary attitudes. Hum takes you on a interior journey that encompasses the gnarled rhythms and magic melodies of “Comin’ Home,” the rumble in the jungle of “Isle of the Cheetah,” tripping through the salamander-infested waters of “Afternoon with the Axolotls,” and the back-to-nature de-evolution of “If You Are to Bloom” and “Green To Me.”
Eschewing individual personalities to the whole, Hum is much, much more than the sum of its young, fast and scientific parts. “We are democratic to a fault,” says Matt. We barely function sometimes because if one guy doesn’t like a part, even if the other three do, we’ll rework the idea until we’re happy with it. That’s why it took so long to finish this album [DIH].” Hum’s songs are rorchacht tests, with Talbott preferring to leave their interpretation open to the listener, though he will admit “they’re mostly just love songs when you break them down.” Abstract lyrics jump out to form concrete images. “I’m thinking of a number between everything and two,” sings Matt on “Apollo,” a song about a woman who’d most certainly not prefer an astronaut, but a companion more down-to-earth, with his feet on the ground. “It’s molecules of you.” Hum break down personal relationships into their physical components and turn those particles into whole songs.
You could say Hum were the thinking man’s rock band, though not to their face. “We don’t take ourselves very seriously, but we take what we do pretty seriously,” insists Matt. “I like the sound you found,” sings Talbott in “Ms. Lazarus.” “I like the way it feels here coming down.” Like a camera obscura freezing an image for eternity, Hum is all about turning space-time and its continuum upside down, rethinking rock & roll in a new light, turning emotions into a nuclear fission of colors, sounds, feedback and trance-n-dance. Hum be dropping some mad science.
MINERAL:
“When Mineral broke up in 1998, they had been together for only four years and released only two full-lengths, yet their shaping of the indie rock landscape cannot be overstated. ” – All Music Guide
EndSerenading was the second, and final album released by Mineral. It was the definitive statement by the Austin, TX based band. So final, in fact, that the band members had actually gone their separate ways prior to the album’s release in 1998.
What ended in 1998, actually began four years earlier, in Houston, TX, when friends Christopher Simpson (guitar/vocals), Jeremy Gomez (bass), Gabriel Wiley (drums) and Scott McCarver (guitar) formed the band Mineral. Mineral launched into touring immediately, often alongside other indie bands like Jimmy Eat World, The Promise Ring, Texas is the Reason, Knapsack, Braid, and The Get Up Kids, garnering them a legion of fans from the outset.
Eventually the band relocated to Austin, TX and a debut single, Gloria b/w Parking Lot, on Caulfield Records followed, as did more touring. Via a zine editor in Colorado, the single found it’s way to Jeff Matlow at crank! A RECORD COMPANY, which eventually led to an album deal and the release of The Power Of Failing in 1996.
Upon the release of the first album, Mineral quickly emerged as one of the leaders in the burgeoning indie / emo music scene. College radio loved the record. The press gushed about the band. It was inevitable that the major labels would come calling. Interscope Records eventually won the major label beauty contest and signed the band.
Such were the circumstances when the band went into Big Fish Studios in San Diego, California with Mark Trombino (Blink 182, Jimmy Eat World) to record one final record for crank! A RECORD COMPANY. EndSerenading was the result. The songs for the record had not come easily, nor did the recording of them. But the album was strong, emotional and daring. It was a Mineral album.
And then it was over. The perfunctory “creative differences” statement was issued. The album was released and new bands were formed. Christopher and Jeremy went on to form The Gloria Record and Gabe founded Pop Unknown.
In a short amount of time, Mineral’s poignant dynamics combined with impassioned lyrics about coming of age was influencing bands everywhere, and still inspires new bands in the indie scene today.
show less
Hum’s sonic universe is a solipsistic world that exists on its own terms, a maelstrom of sensations and colors, a thick metallic vortex of fuzztoned guitars with a silent core at the center like the eye of a hurricane – equal parts homegrown and high-tech. Hum serves up a cacophony of overlapping harmonics and dense shards of electric guitars providing a counterpoint to Talbott’s tales of innocence corrupted and love lost, the past mourned, the theories of physics and relativity applied to modern-day relationships and contemporary attitudes. Hum takes you on a interior journey that encompasses the gnarled rhythms and magic melodies of “Comin’ Home,” the rumble in the jungle of “Isle of the Cheetah,” tripping through the salamander-infested waters of “Afternoon with the Axolotls,” and the back-to-nature de-evolution of “If You Are to Bloom” and “Green To Me.”
Eschewing individual personalities to the whole, Hum is much, much more than the sum of its young, fast and scientific parts. “We are democratic to a fault,” says Matt. We barely function sometimes because if one guy doesn’t like a part, even if the other three do, we’ll rework the idea until we’re happy with it. That’s why it took so long to finish this album [DIH].” Hum’s songs are rorchacht tests, with Talbott preferring to leave their interpretation open to the listener, though he will admit “they’re mostly just love songs when you break them down.” Abstract lyrics jump out to form concrete images. “I’m thinking of a number between everything and two,” sings Matt on “Apollo,” a song about a woman who’d most certainly not prefer an astronaut, but a companion more down-to-earth, with his feet on the ground. “It’s molecules of you.” Hum break down personal relationships into their physical components and turn those particles into whole songs.
You could say Hum were the thinking man’s rock band, though not to their face. “We don’t take ourselves very seriously, but we take what we do pretty seriously,” insists Matt. “I like the sound you found,” sings Talbott in “Ms. Lazarus.” “I like the way it feels here coming down.” Like a camera obscura freezing an image for eternity, Hum is all about turning space-time and its continuum upside down, rethinking rock & roll in a new light, turning emotions into a nuclear fission of colors, sounds, feedback and trance-n-dance. Hum be dropping some mad science.
MINERAL:
“When Mineral broke up in 1998, they had been together for only four years and released only two full-lengths, yet their shaping of the indie rock landscape cannot be overstated. ” – All Music Guide
EndSerenading was the second, and final album released by Mineral. It was the definitive statement by the Austin, TX based band. So final, in fact, that the band members had actually gone their separate ways prior to the album’s release in 1998.
What ended in 1998, actually began four years earlier, in Houston, TX, when friends Christopher Simpson (guitar/vocals), Jeremy Gomez (bass), Gabriel Wiley (drums) and Scott McCarver (guitar) formed the band Mineral. Mineral launched into touring immediately, often alongside other indie bands like Jimmy Eat World, The Promise Ring, Texas is the Reason, Knapsack, Braid, and The Get Up Kids, garnering them a legion of fans from the outset.
Eventually the band relocated to Austin, TX and a debut single, Gloria b/w Parking Lot, on Caulfield Records followed, as did more touring. Via a zine editor in Colorado, the single found it’s way to Jeff Matlow at crank! A RECORD COMPANY, which eventually led to an album deal and the release of The Power Of Failing in 1996.
Upon the release of the first album, Mineral quickly emerged as one of the leaders in the burgeoning indie / emo music scene. College radio loved the record. The press gushed about the band. It was inevitable that the major labels would come calling. Interscope Records eventually won the major label beauty contest and signed the band.
Such were the circumstances when the band went into Big Fish Studios in San Diego, California with Mark Trombino (Blink 182, Jimmy Eat World) to record one final record for crank! A RECORD COMPANY. EndSerenading was the result. The songs for the record had not come easily, nor did the recording of them. But the album was strong, emotional and daring. It was a Mineral album.
And then it was over. The perfunctory “creative differences” statement was issued. The album was released and new bands were formed. Christopher and Jeremy went on to form The Gloria Record and Gabe founded Pop Unknown.
In a short amount of time, Mineral’s poignant dynamics combined with impassioned lyrics about coming of age was influencing bands everywhere, and still inspires new bands in the indie scene today.
HUM:
Hum’s sonic universe is a solipsistic world that exists on its own terms, a maelstrom of sensations and colors, a thick metallic vortex of fuzztoned guitars with a silent core at the center like the eye of a hurricane – equal parts homegrown and high-tech. Hum serves up a cacophony of overlapping harmonics and dense shards of electric guitars providing a counterpoint to Talbott’s tales of innocence corrupted and love lost, the past mourned, the theories of physics and relativity applied to modern-day relationships and contemporary attitudes. Hum takes you on a interior journey that encompasses the gnarled rhythms and magic melodies of “Comin’ Home,” the rumble in the jungle of “Isle of the Cheetah,” tripping through the salamander-infested waters of “Afternoon with the Axolotls,” and the back-to-nature de-evolution of “If You Are to Bloom” and “Green To Me.”
Eschewing individual personalities to the whole, Hum is much, much more than the sum of its young, fast and scientific parts. “We are democratic to a fault,” says Matt. We barely function sometimes because if one guy doesn’t like a part, even if the other three do, we’ll rework the idea until we’re happy with it. That’s why it took so long to finish this album [DIH].” Hum’s songs are rorchacht tests, with Talbott preferring to leave their interpretation open to the listener, though he will admit “they’re mostly just love songs when you break them down.” Abstract lyrics jump out to form concrete images. “I’m thinking of a number between everything and two,” sings Matt on “Apollo,” a song about a woman who’d most certainly not prefer an astronaut, but a companion more down-to-earth, with his feet on the ground. “It’s molecules of you.” Hum break down personal relationships into their physical components and turn those particles into whole songs.
You could say Hum were the thinking man’s rock band, though not to their face. “We don’t take ourselves very seriously, but we take what we do pretty seriously,” insists Matt. “I like the sound you found,” sings Talbott in “Ms. Lazarus.” “I like the way it feels here coming down.” Like a camera obscura freezing an image for eternity, Hum is all about turning space-time and its continuum upside down, rethinking rock & roll in a new light, turning emotions into a nuclear fission of colors, sounds, feedback and trance-n-dance. Hum be dropping some mad science.
MINERAL:
“When Mineral broke up in 1998, they had been together for only four years and released only two full-lengths, yet their shaping of the indie rock landscape cannot be overstated. ” – All Music Guide
EndSerenading was the second, and final album released by Mineral. It was the definitive statement by the Austin, TX based band. So final, in fact, that the band members had actually gone their separate ways prior to the album’s release in 1998.
What ended in 1998, actually began four years earlier, in Houston, TX, when friends Christopher Simpson (guitar/vocals), Jeremy Gomez (bass), Gabriel Wiley (drums) and Scott McCarver (guitar) formed the band Mineral. Mineral launched into touring immediately, often alongside other indie bands like Jimmy Eat World, The Promise Ring, Texas is the Reason, Knapsack, Braid, and The Get Up Kids, garnering them a legion of fans from the outset.
Eventually the band relocated to Austin, TX and a debut single, Gloria b/w Parking Lot, on Caulfield Records followed, as did more touring. Via a zine editor in Colorado, the single found it’s way to Jeff Matlow at crank! A RECORD COMPANY, which eventually led to an album deal and the release of The Power Of Failing in 1996.
Upon the release of the first album, Mineral quickly emerged as one of the leaders in the burgeoning indie / emo music scene. College radio loved the record. The press gushed about the band. It was inevitable that the major labels would come calling. Interscope Records eventually won the major label beauty contest and signed the band.
Such were the circumstances when the band went into Big Fish Studios in San Diego, California with Mark Trombino (Blink 182, Jimmy Eat World) to record one final record for crank! A RECORD COMPANY. EndSerenading was the result. The songs for the record had not come easily, nor did the recording of them. But the album was strong, emotional and daring. It was a Mineral album.
And then it was over. The perfunctory “creative differences” statement was issued. The album was released and new bands were formed. Christopher and Jeremy went on to form The Gloria Record and Gabe founded Pop Unknown.
In a short amount of time, Mineral’s poignant dynamics combined with impassioned lyrics about coming of age was influencing bands everywhere, and still inspires new bands in the indie scene today.
read more
Hum’s sonic universe is a solipsistic world that exists on its own terms, a maelstrom of sensations and colors, a thick metallic vortex of fuzztoned guitars with a silent core at the center like the eye of a hurricane – equal parts homegrown and high-tech. Hum serves up a cacophony of overlapping harmonics and dense shards of electric guitars providing a counterpoint to Talbott’s tales of innocence corrupted and love lost, the past mourned, the theories of physics and relativity applied to modern-day relationships and contemporary attitudes. Hum takes you on a interior journey that encompasses the gnarled rhythms and magic melodies of “Comin’ Home,” the rumble in the jungle of “Isle of the Cheetah,” tripping through the salamander-infested waters of “Afternoon with the Axolotls,” and the back-to-nature de-evolution of “If You Are to Bloom” and “Green To Me.”
Eschewing individual personalities to the whole, Hum is much, much more than the sum of its young, fast and scientific parts. “We are democratic to a fault,” says Matt. We barely function sometimes because if one guy doesn’t like a part, even if the other three do, we’ll rework the idea until we’re happy with it. That’s why it took so long to finish this album [DIH].” Hum’s songs are rorchacht tests, with Talbott preferring to leave their interpretation open to the listener, though he will admit “they’re mostly just love songs when you break them down.” Abstract lyrics jump out to form concrete images. “I’m thinking of a number between everything and two,” sings Matt on “Apollo,” a song about a woman who’d most certainly not prefer an astronaut, but a companion more down-to-earth, with his feet on the ground. “It’s molecules of you.” Hum break down personal relationships into their physical components and turn those particles into whole songs.
You could say Hum were the thinking man’s rock band, though not to their face. “We don’t take ourselves very seriously, but we take what we do pretty seriously,” insists Matt. “I like the sound you found,” sings Talbott in “Ms. Lazarus.” “I like the way it feels here coming down.” Like a camera obscura freezing an image for eternity, Hum is all about turning space-time and its continuum upside down, rethinking rock & roll in a new light, turning emotions into a nuclear fission of colors, sounds, feedback and trance-n-dance. Hum be dropping some mad science.
MINERAL:
“When Mineral broke up in 1998, they had been together for only four years and released only two full-lengths, yet their shaping of the indie rock landscape cannot be overstated. ” – All Music Guide
EndSerenading was the second, and final album released by Mineral. It was the definitive statement by the Austin, TX based band. So final, in fact, that the band members had actually gone their separate ways prior to the album’s release in 1998.
What ended in 1998, actually began four years earlier, in Houston, TX, when friends Christopher Simpson (guitar/vocals), Jeremy Gomez (bass), Gabriel Wiley (drums) and Scott McCarver (guitar) formed the band Mineral. Mineral launched into touring immediately, often alongside other indie bands like Jimmy Eat World, The Promise Ring, Texas is the Reason, Knapsack, Braid, and The Get Up Kids, garnering them a legion of fans from the outset.
Eventually the band relocated to Austin, TX and a debut single, Gloria b/w Parking Lot, on Caulfield Records followed, as did more touring. Via a zine editor in Colorado, the single found it’s way to Jeff Matlow at crank! A RECORD COMPANY, which eventually led to an album deal and the release of The Power Of Failing in 1996.
Upon the release of the first album, Mineral quickly emerged as one of the leaders in the burgeoning indie / emo music scene. College radio loved the record. The press gushed about the band. It was inevitable that the major labels would come calling. Interscope Records eventually won the major label beauty contest and signed the band.
Such were the circumstances when the band went into Big Fish Studios in San Diego, California with Mark Trombino (Blink 182, Jimmy Eat World) to record one final record for crank! A RECORD COMPANY. EndSerenading was the result. The songs for the record had not come easily, nor did the recording of them. But the album was strong, emotional and daring. It was a Mineral album.
And then it was over. The perfunctory “creative differences” statement was issued. The album was released and new bands were formed. Christopher and Jeremy went on to form The Gloria Record and Gabe founded Pop Unknown.
In a short amount of time, Mineral’s poignant dynamics combined with impassioned lyrics about coming of age was influencing bands everywhere, and still inspires new bands in the indie scene today.
show less
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