Hidden Cabins describe themselves thusly on their bandcamp page: “Adventurous alt-folk/indie rock”. A non-pretentious description goes a long way in my book. They come from New Jersey and North Carolina. I’m shit at geography – achieving an incredible grade D at GCSE back in 1993, and I’d posit that I haven’t improved much – but hopefully those places aren’t too far apart, or band practice is going to be a bit of a ball-ache. Regardless, Hidden Cabins are a new one to me, and I’m guessing to you too. As mentioned on numerous occasions I’m always up for checking out something new, so let’s go.
First off, the front cover features a sepia toned image of two middle-aged blokes with beards and a cursive script logo and title, ‘Two Sides, Two Stories’. Kind of simple, good visual impact. I’d got a fair idea of what to expect from this: some kind of punk acoustic bardery or some such. It’s also clear that the two sides of the LP (pressed on a charcoal mix vinyl colourway) present separate concepts or stories. Putting the record on, my preconceptions are clearly a bit off the mark; and it’s always interesting to be surprised.
The music here to me, falls into that broader spectrum of Americana, alt-country kind of zone. Face it, at this stage who needs more standard fare Bruce Springsteen cosplay (which is what I had been expecting)? The dual vocals on the record are immediately relatable, feel relaxed, and there’s nothing forced about them. Think along the lines of a cleaner Tim Barry (from Avail) or Ben Nichols (of Lucero), and you’ll get what I mean. Oddly (or perhaps not) I’m put in mind of some big voices from the 1990s in places, such as Soundgarden‘s Chris Cornell. Not shrieking or wailing, I’m talking more in terms of the quieter, more brooding aspect of his vocal. Some of the vocal harmonising on this record is fucking undeniable, mate, in particular on the extended outro to LP closer, Bet It All On You.
In terms of the backing music, things are kept nice and simple. Semi-acoustc guitar, bass, hand percussion and drums as applicable, and the odd touch of synths, used sparingly. Again, I’m put in mind of Lucero, which in my mind are some big boots to fill, but I can’t deny it. It’s not as stripped back as say, Rumbleseat, or some of Chuck Ragan‘s earlier material. There’s even echoes of some of the more subdued moments from The Weakerthans‘ back catalogue. As you’d want from well arranged music, it’s got those carefully placed subtle touches that add the required emphasis and embellishment in the all the right places.
I’ve been listening to this record quite a lot. I really fucking like it. If you want some inspidid white guy with dreadlocks pretending to be sensible and whimsical MTV fodder, you won’t find it here. Go and listen to the Counting Crows or some shit. This record doesn’t pretend to be anything that it isn’t, and I personally find real value in that kind of honesty in a world pervaded by posers and bogus bands.
Tony of Nurgle rating 9/10
You can pick this up from Engineer Records in the UK or Creep Records in the US
