That is a title and a half. Eating up the word count, Yves Tumor strikes through with Praise a Lord Who Chews but Which Does Not Consume; (Or Simply, Hot Between Worlds). Hot Between Worlds it is, and what it is, is a powerhouse neo-psychedelica album. Drinking four coffees and listening to the ruptured breathing which opens God Is a Circle does wonders for the paranoid explosions. Decent glam rock and heavy synthesizers make for an intense working, the ruptured spirit and the connections to the divine made clearer by an overhyping of what Hot Between Worlds contains. Experimental indie pop, and little more than that. Good experiments, they work and are well-formed, but not almighty explosions as promised.
Consistent tones and the usual run are found on Lovely Sewer, the supporting vocalist, bass-heavy and pop-ready charm is no extraordinary push but makes for a nice listen. Whether it extends its reach and growth to glam rock through anything more than visual aesthetic is debatable. David Bowie is the smoking gun that comes through when mentioning glam-rock, and where the shine of Tumor has nothing to do with the Starman, Tumor finds himself brushing shoulders closely with those that came before them. Grunge-like tones for spotty parts of Meteora Blues before stripping back to the production to a barebones guitar, the explosion of sound, the calm before it, is apparent.
Still, it is the journey there that stands out most of all for Tumor, their work on Hot Between Worlds a mixture of traipsing old ground and finding feeling in the flow of new potential. Parody finds that well enough in the vocal range and instrumentals, but the lyrics lack and show signs of group writing sessions that question nothing in particular, shrouding it with lush guitar work and heavy percussion. Hot Between Worlds widens the gap between the two and hopes to crush people into the centre, with volume overcoming a lack of depth in places. Palatable indie pop riffs are what Tumor and company do best. Every track in a key or pitch is just slightly removed from where it was lifted. Hot Between Worlds does not breathe new life into guitar music, but Heaven Surrounds Us Like a Hood gives a neutered go at it.
Confident in performance but surprisingly empty at times. Every track is a fine display but not showcasing that next step, that permanent move to something that sparks brighter or bolder. Operator has Tumor elongate his words as his Bowie impression offers often. Amicable glam-rock riffs come not from the music but from the attire, the out-there perspective and the colourful glow. Imagery does not tie in with success if the words and powerful interpretations are not behind it. A sum of its palatable parts, Tumor makes an upbeat record with a shaky mid-section. Be aggressive, as Operator maintains, skittering toward the tonal change of In Spite of War and never quite finding its footing in a pop-rock album that bleeds into the noisy void. Pain, strife and suffering are at the core and mused on frequently, broadly and try and entertain Tumor’s loud ambience.