Humanity isn’t exactly humane in the songs on “Hellfire,” the caustic, exhilarating third album — a masterpiece — by the English band black midi. Each song on “Hellfire” is a whirlwind of virtuosity and structure, an idiom-hopping decathlon of meter shifts, barbed harmonies and arrangements that can veer anywhere at any moment.
Though many of the band's distinct hallmarks show face – heavier than ever, even – somehow their latest record sounds miraculously and hideously new, proving their aversion to any mindless repetition.
Though it mostly lacks the direct punchiness and instant gratification of an album like Schlagenheim, it provides a unique musical escapade that dashes deftly between genres and the depths of the human experience like a charging bull. Black midi isn’t here to charm you or to prove anything—they just want to take you to hell and back.
Hellfire is designed to be heard as an album, rather than chopped into playlists—but it’s 180 degrees away from the dourness of the usual prog-adjacent music. The album rewards digging beneath its surface and influences, as it engages with rock’s history while simultaneously taking it in imaginative new directions.
If the intellect on Hellfire is feverish, the emotional temperature often dips to morgue levels; their music is better equipped to comment on emotion than to feel it, or express it. They continue to get over, as they always do, on pure conviction, riding the knife’s edge between clinical precision and crazed abandon.
This is my personal favorite of their 3 albums so far. It’s also the one that flows best as an album track for track and conceptually. IfThis is my personal favorite of their 3 albums so far. It’s also the one that flows best as an album track for track and conceptually. If you’re a fan of 70’s era King Crimson, not to mention myriad other influences, then this will make you happy as hell, all while also managing to be very much its own thing. The control and chaos, smirking absurd humor, whimsical flights of fantasy, visceral action, and spots of roiling darkness are all here. A masterpiece.…Expand
Excellent record. Not quite on the level of Schlagenheim, but massive improvement over Cavalcade. Production is massively better too (thankExcellent record. Not quite on the level of Schlagenheim, but massive improvement over Cavalcade. Production is massively better too (thank you Marta Salogni; the guy who produced everything on Cavalcade other than John L really made it sound like a gross mushy mess).…Expand
I love this album, it's my favorite of their current 3, with Schlagenheim coming in close second. This album has a great tracklist with songsI love this album, it's my favorite of their current 3, with Schlagenheim coming in close second. This album has a great tracklist with songs that are so chaotic and crazy and have clear theming and stories. It's also helped with its concise runtime of 38 minutes, it's such a crazy project that if it were longer it could likely go into an overwhelming territory, but being shorter allows the listener to greater appreciate each song, and the album as a whole.…Expand
A fantastic album, their best one yet—they just keep getting better. The myriads of influences are fun to hear, and they intertwine perfectlyA fantastic album, their best one yet—they just keep getting better. The myriads of influences are fun to hear, and they intertwine perfectly with black midi's own characteristic sound. The songs can be listened to individually, but I really recommend the experience of listening to the full album. Being a sort-of rock opera, it works better that way, and it isn't overly long so as to become boring or tedious. Also, I particularly love the maximalist approach to the production and the arrangements: it feels like "too much", but in the best, most sweetly chaotic way possible. A celebration of excess, and a great success for one of the best bands of our times.…Expand
Disclaimer: this is not the most accessible Black Midi album- for a indie soiboi simp like myself, that was Cavalcade, which still remains myDisclaimer: this is not the most accessible Black Midi album- for a indie soiboi simp like myself, that was Cavalcade, which still remains my favourite for that reason. Hellfire takes at least a few listens to make sense of everything that is being explored sonically. The songs hit like a series of punches, fast and furious, with only a couple intermissions of somber reflection interspersed. That being said, Hellfire instrumentally and lyrically surpasses Cavalcade. Thematically, Hellfire accomplished what Black Midi set out to do: trade listenability for unbridled, decisive stubbornness in a concept album about loathsome people who are bound for hell. It succeeds in pushing the boundaries of prog rock/experimental jazz, which is the point of writing within these genres, and a hard thing to do well. Morgan possesses the remarkable ability to- with only two arms- play polyrhythms which typically require the use of four or more arms. There is no predecessor album like this one, although you can certainly hear the Zappa/King Crimson inspiration, and Hellfire certainly builds on the sound and prowess of BM's last two releases. Go to any song on it and a narrative has been thoroughly written depicting the tale of some horrible sad sob- lyrical favourites include the "The Defense", "Dangerous Liaison", "The Race is About to Begin", "Eat Men Eat", and "Sugar/Tzu". If you are looking for an album that will take a whole week to digest entirely, listen to this series of sucker punches. I am looking forward to the further evolution of this young band.…Expand
The only good part about the album is the instrumentals. This sounds like they threw in random loud noises and called it "experimental". SomeThe only good part about the album is the instrumentals. This sounds like they threw in random loud noises and called it "experimental". Some songs like "Eat Men Eat" actually sound coherent unlike most songs on the album, however I would never willingly go back and listen again.…Expand
