When a debut becomes a hit, the next major feat is coming up with the follow-up sophomore album. The second album proves if a band deserves success or if their debut was a fluke.
In the past there have been sophomore albums that did make or break a band. For example, The Shins' second album, Chutes Too Narrow, solidified their status as a band worthy of attention.
Without this album's high quality, The Shins could have been a flash in the pan who faded away quickly.
However, not all succeed in their follow-up album. The Vines' debut album, Highly Evolved, garnered much attention with notable tracks. Their high intensity and innovative style exhibited on their debut garnered excitement for their second attempt.
Although their second album was not a total failure, Winning Days did not deliver what The Vines previously established. The Vines neither excelled nor proved their talent with their second album nor did they match the intense nature of the first.
The sophomore album is difficult for a band because they do not want to stray too far from the successful sounds the debut created. Yet in the same vein, the second album cannot be repetitive, a replication or a digression from the debut.
Bands must walk a fine line between the dullness of repetition and the alienation of a new sound.
This talk about sophomore albums brings up Hot Hot Heat's second album, Elevator-the follow-up to Make Up the Breakdown. The first album was refreshingly unique and exposed the world to Steve Bay's explosive and spastic vocals coupled with an organ and a rhythmic-driven sound.
On first listen, it seems like a love-hate relationship builds with the album, as it was quite hard to warm up to Elevator. However, the album grew on me and became increasingly likable. It is a post-punk, danceable and fun record that pulls in many sounds. Hot Hot Heat seemed to be on the right path to success.
Like their debut, the first listening session left a sort of emptiness as some elements appeared to be missing in their sound. Hot Hot Heat delivers a different type of intensity on the second album. It drives mainly on guitar, with less attention on the organ. While the keys still exist, they take a backseat to the guitar and drum sequences.
They should have maintained the same danceable energy by keeping the keyboards going and adding more organ solos because that drove their sound. This is not to say their album fails to hold solid tracks or upbeat tunes. Overall, Elevator is a fun, upbeat album with spunk and high energy.
Songs like \Middle of Nowhere,"" ""Island of an Honest Man,"" ""Shame on You"" and ""Jingle Jangle"" incorporate the much-needed organ and show more depth to Hot Hot Heat's sound. These tracks showcase their diversity and why they are worthy of the attention they have been receiving.
Fortunately, Bays still uses his intensely insane vocals to pick up the power that the album would have otherwise lacked. His articulation completely demonstrates their originality and why their follow-up will succeed.
As a sophomore album, Hot Hot Heat delivered a safely solid album. Their music may not be as cutting-edge as their first album or immensely different, but their sound might have found its place and grown on audiences, becoming more of a pop mainstay.
Many times, an album that receives a lot of exposure allows fans to look back at prior releases and see how a band has grown and changed and why they are successful. Hopefully, with the added exposure, new fans will go back to see what Hot Hot Heat has produced in the past and recognize their achievements.
Only time will tell whether Hot Hot Heat's fans will warm-up to their sophomore attempt or wait for yet another release.
Beth Wick can be reached at eawick@wisc.edu.
