HMLTD

혹자는 HMLTD를 두고 성공한 컬트 밴드라 부른다. 셰임(Shame), 블랙 미디(Balck Midi) 등과 함께 사우스 런던 신의 주역으로 출발했기 때문이다. 르네상스 회화부터 살아 있는 닭까지 할 수 있는 한 모든 것을 활용하여 공연장을 장식하는 등 위태로우면서도 독창적인 퍼포먼스를 선보이며 관객에게 완전히 다른 경험을 선사하는 것으로 명성을 쌓았다. 이런 이유로 데뷔 초기 온라인에 공개된 음원이 단 네 개임에도 불구하고 1200석 규모의 공연장을 매진 시키기도 했다. 메이저 레이블과 결별 후 2020년 인디 레이블인 Lucky Number을 통해 밴드가 원하는 음악상을 자유롭게 구현하며 'West of Eden'을 발매, 영국과 유럽 평단으로부터 극찬을 받았다. 이후 아방가르드한 연극적 스타일이 드러나는 공연을 통해 팬덤을 빠르고 탄탄하게 구축하고 있다.

HMLTD are what you might call a successful cult band. Starting out as a leading part of the South London scene, alongside Shame, Black Midi and Sorry, the band gained a reputation for energetic and wildly unpredictable shows, in which they decorated venues from floor to ceiling with everything from renaissance paintings to live chickens, and working alongside fashion designers, performance artists and set designers to bring the theatre to the mosh pit.

HMLTD have always had grand ambitions, and presented something totally different to their contemporaries: their unique music, which cannot be described as punk, glam, electro, hip-hop or folk, but somewhere in between, which complements perfectly the danger and originality of their live shows. The size of their venues soared as quickly as their popularity, with the band selling out the 1200-capacity Electric Ballroom with only 4 songs released online (is that a record?), and penning a huge deal with Sony RCA.

History tells us that major labels and avant-garde cult bands don’t mix well, and, despite the best of intentions, HMLTD was no different. Despite immediate success with singles such as ‘To the Door’ and ‘Satan, Luella and I’, RCA held off from releasing an album, and decided instead to send the band to LA, to work with Justin Bieber’s songwriter. The sessions were a success; they returned with songs that were sharper, but which kept the avant-garde flavour of their early work. RCA did not see it that way, however, and in 2018, after two years of indecision, released HMLTD from their contract.

In this instance, many lesser bands would have been forced to call it a day. HMLTD, however, were fortunate that they had built a large and dedicated following across the globe, and spent the next year gaining momentum through touring. Performing in the US with Nine Inch Nails and The Jesus and Mary Chain, and South America with Pussy Riot.

Since signing with indie label Lucky Number, the band have revelled in the artistic freedom offered by the label. They released their long-awaited debut record West of Eden in February 2020, to rave reviews from the British and European music press, leading to revered American critic Anthony Fantano (The Needledrop) calling the band the best punk act in the world right now. The cult success of the album has breathed new life into the project, and their underground following is now stronger than ever, with the band performing in bigger venues than ever before in the U.K and Europe, bringing their unique blend of music and avant-Garde theatre to an ever-growing audience of make-up clad superfans.

혹자는 HMLTD를 두고 성공한 컬트 밴드라 부른다. 셰임(Shame), 블랙 미디(Balck Midi) 등과 함께 사우스 런던 신의 주역으로 출발했기 때문이다. 르네상스 회화부터 살아 있는 닭까지 할 수 있는 한 모든 것을 활용하여 공연장을 장식하는 등 위태로우면서도 독창적인 퍼포먼스를 선보이며 관객에게 완전히 다른 경험을 선사하는 것으로 명성을 쌓았다. 이런 이유로 데뷔 초기 온라인에 공개된 음원이 단 네 개임에도 불구하고 1200석 규모의 공연장을 매진 시키기도 했다. 메이저 레이블과 결별 후 2020년 인디 레이블인 Lucky Number을 통해 밴드가 원하는 음악상을 자유롭게 구현하며 'West of Eden'을 발매, 영국과 유럽 평단으로부터 극찬을 받았다. 이후 아방가르드한 연극적 스타일이 드러나는 공연을 통해 팬덤을 빠르고 탄탄하게 구축하고 있다.

HMLTD are what you might call a successful cult band. Starting out as a leading part of the South London scene, alongside Shame, Black Midi and Sorry, the band gained a reputation for energetic and wildly unpredictable shows, in which they decorated venues from floor to ceiling with everything from renaissance paintings to live chickens, and working alongside fashion designers, performance artists and set designers to bring the theatre to the mosh pit.

HMLTD have always had grand ambitions, and presented something totally different to their contemporaries: their unique music, which cannot be described as punk, glam, electro, hip-hop or folk, but somewhere in between, which complements perfectly the danger and originality of their live shows. The size of their venues soared as quickly as their popularity, with the band selling out the 1200-capacity Electric Ballroom with only 4 songs released online (is that a record?), and penning a huge deal with Sony RCA.

History tells us that major labels and avant-garde cult bands don’t mix well, and, despite the best of intentions, HMLTD was no different. Despite immediate success with singles such as ‘To the Door’ and ‘Satan, Luella and I’, RCA held off from releasing an album, and decided instead to send the band to LA, to work with Justin Bieber’s songwriter. The sessions were a success; they returned with songs that were sharper, but which kept the avant-garde flavour of their early work. RCA did not see it that way, however, and in 2018, after two years of indecision, released HMLTD from their contract.

In this instance, many lesser bands would have been forced to call it a day. HMLTD, however, were fortunate that they had built a large and dedicated following across the globe, and spent the next year gaining momentum through touring. Performing in the US with Nine Inch Nails and The Jesus and Mary Chain, and South America with Pussy Riot.

Since signing with indie label Lucky Number, the band have revelled in the artistic freedom offered by the label. They released their long-awaited debut record West of Eden in February 2020, to rave reviews from the British and European music press, leading to revered American critic Anthony Fantano (The Needledrop) calling the band the best punk act in the world right now. The cult success of the album has breathed new life into the project, and their underground following is now stronger than ever, with the band performing in bigger venues than ever before in the U.K and Europe, bringing their unique blend of music and avant-Garde theatre to an ever-growing audience of make-up clad superfans.