“There’s a den of thieves still staring in.“
Hundredth‘s change in sound back in 2017 is a road that has been well trodden, yet is one that, even in the context of Faded Splendor, still holds some relevancy. The switch between Hundredth’s historical material on Break Free to RARE is arguably one of the strongest transitions in recent memory, up there with the likes of Ceremony who have seamlessly moved between genres across records. Tracks such as “Youth” and “Neurotic” still hold up to this, and in the process, have introduced a whole new genre of shoegaze to people such as myself, which has still stuck to this day. Given the quality of RARE, it could have been straightforward for Hundredth to stick to that sound, yet they have continued to expand their soundscapes.
On the following record Somewhere Nowhere, Hundredth opened a new vein, adding elements of dream pop, new wave and ambient to their craft. Tracks such as “Whatever” and “Bottle It Up” stand strong in Hundredth‘s discography, as well as more subtle moments in “Way Out” that expanded the imagination in terms of what Hundredth‘s sound could be. Since then, it’s been five long years of waiting to see what Hundredth would form as next. It’s evident that they wouldn’t confine themselves to what they had done before, drumming up a certain anticipation that was finally answered with “Dark Side“.
A street racer of a track, “Dark Side” justified the hype of the return of Hundredth. The bounce of drum grooves that enter on “I guess I’ll see you on the dark side” throw the mind towards the fervent soundtracks that defined FIFA and Tony Hawk games from the 00s. The enrapturing energy within “Dark Side” provides a special moment yet it’s also joyously straightforward. It is simply a track that the mind will either want to sing or at minimum tap along to. This is something that the wider record, Faded Splendor, does excellently across its ten tracks.
Before hitting its explosive stretch that begins with “Dark Side“, Faded Splendor introduces itself with “Curve” and “Big Love“. The former showcases the late 90s and 00s alternative and rock sound that Hundredth and aiming for with this record. Neat grooves between both, with “Curve” making use of acoustic sounds to ease the record in, akin to what “Somewhere Nowhere” did on the previous record. “Big Love” is where the hook-lead sound of Faded Splendor is fully leant into, as Chadwick sings “You’re stuck in my big love, so what” to create the first moment that begins to truly capture the ear.
As soon as the curtain calls on the aforementioned “Dark Side”, Faded Splendor throws “All The Way” into the limelight, which is an absolute bop of a track. It’s on tracks such as these that the timbre of Chadwick‘s vocals begin to shine through, and the ability to carry different vocal ranges becomes clear. The “All The Way” hook that the track pivots on is addictive. The bounce to the backing instrumentals give a flair too, yet this one that many Hundredth‘s fans will return to over this coming summer. An even more anthemic nature enters with “Blitz“, that has a hint of Britrock to it such as Blur and The Verve, with the racing beats backing expansive vocals that would compliment the sound system of many venues.
After a run of tracks that are brimming to the edge with energy, Faded Splendor removes its foot of the acceleration and dives into the world of grungegaze with “Waste“. Chadwick delivers more introspective lyrics (“The fate I’m trying to break, silence everything you say, ’cause everything’s a waste“); whilst they might shift between genres, Hundreth‘s emotional heart is on display at all times. “Blur” continues with this introspective nature at the forefront, with the grooves of previous tracks returning. The hi-hat lead groove on the chorus is electric (“Had to blur it all out to feel it again“). Whether it be the toe-tapping beats or the lyrics that yearned to be sang, Faded Splendor even before its crescendo is simply irresistible.
The sunset of the record begins to emerge with “Glimmer” as a more paced tone is taken. Yet the hooks do remain strong with “Glimmer until you make it all turn gold“. An optimistic glee fills the track, perhaps the other side of the coin from earlier tracks such as “Waste“. It’s also a piece that provides a necessary flow adjustment as the record prepares to close. Acoustic turns on “Dazzle” and title track “Faded Splendor” continue to turn out the lights gently. The former didn’t wholly work as a single, yet does begin to work better in the context of the album due to how drawn back it is after a foray of high energy moments. The closer does perhaps lose its gravitas following on from a track of similar styling, even as it develops into a cute jazz number.
As with every Hundredth record that has come before it, there is a truth and a heart to Faded Splendor, a sense that passion is driving music those behind it want to make. What is also commendable is the ability of Hundredth to move between genre and sounds now with an ease, seemingly proving their credibility across a range of genres from hardcore, shoegaze and new wave, which many few bands have been able to do.
The likes of “All The Way“, “Blur” and “Dark Side” contain the potential to see Hundredth become bigger than it has seen itself before, with a compact yet sublime style of songwriting that could see itself become a popular element. What Faded Splendor perhaps does so well is capture the creativeness of Somewhere Else and the compact-come-succinct nature of RARE to create a record that is wholeheartedly what is shows itself as. And while it may not be the genre-pushing record the modern day requires, it is one hell of a record to simply indulge in and absolutely enjoy.
8/10
Faded Splendor is out May 16th, and can be pre-ordered here.