With the disappearance of past social media posts and the emergence of a bold new aesthetic in the build-up to their latest record, are The Hunna detaching themselves from their indie past to embrace a rockier sound or are we simply witnessing a self-discovery? Either way, it is abundantly clear that the Watford boys are finally bouncing back from a pandemic-enforced hiatus with an evolved style and new-found confidence.
Following in the footsteps of its preceding album, ‘I’d Rather Die Than Let You In’, the bands self-titled ensures that you cannot delve into The Hunna’s long-anticipated new release without first building a deliberate atmosphere. Opening track ‘The Storm’ is perfectly suited to its title; with alluring synths and indistinguishable vocalisation building into an outburst of guitar, it encaptures the feeling of a sudden downpour from the gloom of growing clouds. Even from the outset, everything about this album feels intentional.
The 90s’ influenced punk rock anthem, ‘Trash’ expresses a sense of frustration towards the music industry and their treatment towards the band, and others alike. It’s the perfect balance between scathing and amusingly sardonic, one that’s laced with anger throughout which is a tone carried through the rest of the record. Following that scathing anger, ‘Fugazi’ expresses how the band appear to harbour little to no fear when it comes to openly biting at authoritarian figures – something they appear to be having fun doing.
The two energetically rebellious tracks are followed by a sudden turn as the ballad-like ‘Find A Way Out (Back To You)’ and ‘Circles’ lulls everyone into a slower pace, allowing us a brief glimpse of the haunting vulnerability the band are capable of conveying. Addressing a one-step forward, two-steps-back dynamic in a relationship, ‘Circles’ showcases a soberingly human sentiment, one that is also seen in ‘Sick’. The beautiful track, which features Fightstar’s/Busted’s Charlie Simpson, portrays the lovesick feeling found in a deteriorating relationship where both parties are gasping for air but going under. Even though the pace may momentarily decline at specific moments, not one of the sounds found on this album possesses an absence of energy. The Hunna have found the perfect balance that makes this record truly relatable and, in turn, impactful.
The overriding sentiment throughout this album is that the Hunna have broken free and they know it. The lyrics in ‘Take A Ride’ and ‘Fugazi’ pay tribute to the time spent shut away for far too long over lockdown which is an experience that seems to have made an important impact on the band resulting in this incredible record. It seems that the Hunna have found themselves, both musically and in their stance on issues within the music industry, such as its cliquey nature which they mockingly address in ‘You Can’t Sit With Us’. Having finally found their place, one where they’re sitting comfortably, this album is a catalyst of excitement for what The Hunna’s future holds.
The Hunna’s fourth album ‘The Hunna’ is out now.