Let’s talk about originality. In some cases, it can truly make or break an album. We oftentimes chastise bands either for going too experimental on their sophomore albums or playing it too safe. Other times, we complain that a band sounds too much like the bands that influenced them. As a reviewer I’ve certainly had these tendencies. Sometimes it’s warranted, especially when an album just doesn’t have the flare or excitement that it should. Other times, it doesn’t really matter in the long run because the album is fun regardless of how derivative it sounds. In the case of Potty Mouth’s Hell Bent, it’s quality and charm shines through any criticism you can make on its originality.
Potty Mouth may play it safe, but there is an infectious power to the album. It tells a story of a supposed bad breakup between the narrator and their significant other, although it can be interpreted many ways (and can splinter from relationships, broken friendships, or small town loathing). Hell Bent shows hidden layers of regret (whether the narrator is willing to admit it or not) on songs like “Sleep Talk” and “Damage”. It’s also not surprising that those two are some of the most stand-out tracks on the album. It also shows a surprisingly deep gamut of the aspects of relationships such as domination, disinterest, sexual dissatisfaction, and infidelity. It’s an eclectic mix, even if it stays mostly in one category. It’s also important to note that we are getting these views through the eyes of a female narrator, something that is largely and criminally missing from the punk landscape.
Musically, is where the simplicity of Hell Bent sticks out. There are shades of surf rock and early emo in the album, but it’s largely a straightforward punk rock record. While it doesn’t take many chances, each song is incredibly catchy. As long as it’s fun, has an upbeat rhythm, and manages to stay in sync, it largely works. This is punk music, not post rock. What it lacks in intricacies it gains back in strong cohesion. It’s not necessarily the music or lyrics that make it a good album, but how well they work together. Singer Abby Weems has an impressive singing voice. It fits perfectly in the punk rock style, and it’s largely androgynous while still feeling distinctly feminine. Her low voiced singing makes her strong yet vulnerable vocal shift on album closer “The Better End” feel like a completely unsuspected but appreciated tonal shift.
Hell Bent is simply put, another worthy addition to the punk cosmos. It’s an honest record that never tries too hard to impress you. There are no illusions of grandeur here; just fast paced, upbeat songs that deal with complex issues in seemingly simple problems and situations. Every song has its own gravity and power, but fits into the narrative of the album. The overarching themes are succinct but never weigh it down or distract. In an era of music that is constantly fragmented, over complicated, and still somehow watered down, this is what I want my rock and roll to sound like.
Review by Justin Owlett. Follow him on Twitter at @JustOwle.