With an in-depth understanding of Silent Majority, Turning Point, Quicksand, and Ambitions, their 2008 debut, Lens (Redscroll), was a comprehensive lesson of what melodic hardcore should sound like; effortlessly, post-hardcore-tinged melodies were merged with beefy power chords into politically charged battle cries. With that creative momentum, Hostage Calm took a two-year period to write their self-titled follow up for Run for Cover records. It’s safe to say that their knack for writing an intelligent tune is matched by that of their musical ambition. While the subtle hints of Dag Nasty progressions and the skipping, Descendents-esque back beats are evident, they’re cradled by the lush layers of jangling acoustic guitars, quick tambourine hits, and resonating piano accompaniments.
I think a good point of reference would be The Smith’s The Queen is Dead, with its blending of styles into one cohesive and all encompassing pop album. Hostage Calm never quite compromises their energy, but touches lightly on everything from doo wop (“Rebel Fatigues”) and new wave (“Ballots/Stones”) to Latin (“Wither on the Vine”) and power pop (“War on a Feeling”). Vocalist Chris Martin’s suave melodies are chosen with seemingly the utmost care; they have a particularly relaxed quality that certainly reveals a less excessive rendition of the 1980’s. And while he’s just about as political as ever, he won’t hesitate to delve into more personal narratives, yet sparing us of any cringe-worthy melodramatics. You see, “pop” isn’t a four-letter word, but in context to the substance-less drivel that excretes out the radio waves these days, it’s sometimes easy to forget. Hostage Calm makes a universally appealing effort, but there’s something inherently different… something beneath the shades of eloquence that’s aggressive and pissed. For those of us who grew up on stage dives and music with actual meaning, this is pop we can get behind.