Hot Hot Heat - Elevator

Hot Hot Heat
Elevator
Sire/Reprise Records
Grade: A-/A

Not being entirely tuned into Hot Hot Heat for the past few years has produced a pleasant surprise on their latest Elevator. Previous run-ins during the past have mostly been of the form of ‘ah, they’re okay’ or ‘not bad, but too much to grab you by.’ Yet, the fourteen songs on Elevator provide enough memorable moments to fill a Christmas stocking. And in doing so, Hot Hot Heat unleash one of the hottest records of 2005.

Initially formed in Vancouver in 1999 by Steven Bays on keyboards/vocals, drummer Paul Hawley and bassist Dustin Hawthorne as an outfit focusing on synth-pop majesties, they changed directions towards a swifter rock focus with the 2001 addition of guitarist Dante DeCaro. Previously having self-released their debut Scenes One Through Thirteen, the first rock-orientated record came via Knock, Knock, Knock EP on Sub Pop in 2002, shortly followed by the full-length Make Up the Breakup. While the EP got people’s notice, the full-length bitch-slapped the music community to relaying high praise and sweet nothingness for Hot Hot Heat. Following the release, Hot Hot Heat set out like any other band for a swath of record-supporting live dates. One difference is that they were out for roughly two years and managed to play huge dates to small shows and everything in between, further cementing their fan base. Writing Elevator during and in between the course of their travels, Hot Hot Heat solidified a group of songs and headed down to LA to record with Dave Sardy for their first record for the Warner Music Group. Soon after finishing the recording, DeCaro left the band and was quickly replaced by guitarist Luke Paquin.

Admitting Elevator as a modest shift from previous material, Hot Hot Heat focused on differentiating and maturing their sound to reflect the experienced artists they had become. And the outcome is sheer brilliance. The sound continues to be catchy, poppy and danceable, but the rock foundations are harder, sharper and at times shadowy. Only a crackhead could honestly call Hot Hot Heat ‘too dancey’ or ‘too much New Wave’ for their tastes; though much of the recent grouping of some rock bands as New Wave is quietly disturbing and only hints at real commonalities. Hot Hot Heat do get you moving off your ass, but it is all for the right rock moments.

The meat of Hot Hot Heats’ songs are uptempo beats and bass, matching guitar riffs, fluttering keyboards and Bays’ intense garage-glam vocals. Elevator begins on “Running Out of Time” that certainly sounds like a song that the Strokes’ should be making as nearly all the moments are parallel to such compositions. A striking opening to be sure, “Goodnight Goodnight” sends “Running Out of Time” packing. With drums and guitar opening, Bays lays down the innocuous vocals until the fantastic chorus comes in full thirty seconds in. After the chorus, the following verses sound completely different as if the anchoring of the chorus totally changes your perception. ‘La, la, las’ weakly open “Ladies and Gentleman,” which only becomes interesting on the solidly catchy chorus. Though “You Owe Me An IOU” is more sprawled, jokey and glam than the rest, it is hard not to be captivated by the chorus of “you owe me an IOU/…,” once again illustrating that Hot Hot Heat have completely mastered the concept of a chorus. After the bridge track “No Jokes – Fact” comes the slower, Bays’ vocal pushing intro to “Jingle Jangle” that is certainly less happy sunshine than other numbers. “Jingle Jangle” comes across like the type of song that could only be written by one of the garage rock bands inhabiting Brooklyn; and that Hot Hot Heat aren’t makes it even better. The moment that Bays’ keys (under organ) strike you on “Pickin’ It Up,” you know that this song is going to fucking smoke – and it absolutely does. Though “Pickin’ It Up” is lyrically simple, it has this Springsteen/Mellencamp feel that is even sweeter with Hot Hot Heat’s higher tempo love. Things keep on pace with the fast wording on “Island of the Honest Man,” where Paquin’s angular guitars punctuate the beats and then everything swoons on the chorus of the title. “Middle of Nowhere” is another top choice where Hot Hot Heat keep things simple with sparse drumming, single-strike chords and lighter vocals – and, of course, is accompanied by a sweet chorus. “Dirty Mouth” is a noticeable misstep given the sweep of tremendous songs going in. “Soldier in a Box” is marginally better, though things are rescued by the admittedly dance-driven “Shame On You” and yet is still not on the same level of the previous highlights. The album closes in strong form on the directed title track, where Hot Hot Heat utilize some 70s pop love to accentuate another breathtaking chorus.

Given the swell of gorgeous songs on Elevator, it wouldn’t be surprising to see just single after single coming out over the course of the next year. Now with higher levels of exposure from being on a major, you might as well pencil in Hot Hot Heat for Grammy nominations now. Though Hot Hot Heat do quite well for themselves touring, one should see them as soon as possible before their shows become a scalper’s wet dream and you become a broke-ass fool.