HMLTD: The Worm review – a grand, apocalyptic free-for-all | Indie

A parasitic giant worm has emerged from the ground and is in the process of devouring England, turning the country into a feudal nightmare. This is the admirably mad concept behind the second record from London-based art rock quartet HMLTD. After West of Eden, their synth-infused 2020 debut, The Worm – much like the mythical beast of its title – is a gargantuan effort, spanning everything from free jazz freakouts to prog rock opera and orchestral string swells. Singer Henry Spychalski narrates a tale of defiance against the worm, which can be read as a metaphor for dread or the apocalyptic force of the climate crisis.

Backed by a gospel choir, 16-piece string section and horn fanfares, HMLTD confidently tackle musical styles as varied as choral harmony (Worm’s Dream), hook-laden soul (The End Is Now), grungy rock (Saddest Worm Ever) and plaintive pop balladry (Lay Me Down). While the album’s theme is an entertaining unifying thread, narrative exposition can lead tracks such as the riff-heavy Wyrmlands into musical theatre territory as Spychalski crams lyrics amid instrumental virtuosity. It’s this richness that gives the album its depth, harnessing a large ensemble to showcase HMLTD as a band capable of committing to grand visions with brilliant intensity.

A parasitic giant worm has emerged from the ground and is in the process of devouring England, turning the country into a feudal nightmare. This is the admirably mad concept behind the second record from London-based art rock quartet HMLTD. After West of Eden, their synth-infused 2020 debut, The Worm – much like the mythical beast of its title – is a gargantuan effort, spanning everything from free jazz freakouts to prog rock opera and orchestral string swells. Singer Henry Spychalski narrates a tale of defiance against the worm, which can be read as a metaphor for dread or the apocalyptic force of the climate crisis.

Backed by a gospel choir, 16-piece string section and horn fanfares, HMLTD confidently tackle musical styles as varied as choral harmony (Worm’s Dream), hook-laden soul (The End Is Now), grungy rock (Saddest Worm Ever) and plaintive pop balladry (Lay Me Down). While the album’s theme is an entertaining unifying thread, narrative exposition can lead tracks such as the riff-heavy Wyrmlands into musical theatre territory as Spychalski crams lyrics amid instrumental virtuosity. It’s this richness that gives the album its depth, harnessing a large ensemble to showcase HMLTD as a band capable of committing to grand visions with brilliant intensity.