Hidden Mothers’ Erosion/Avulsion doesn’t introduce itself with a knock on the door; it kicks it wide open, drags you into its storm, and refuses to let go. From the very first notes, this debut album from the Sheffield-based quartet feels like a raw, chaotic, yet oddly beautiful exploration of sound and emotion.
On Erosion/Avulsion, they’ve managed to bottle their ferocity and precision, layering it with moments of surprising vulnerability. It’s the kind of record that grows on you with each listen, not because it’s difficult but because there’s so much to unpack.
Take the opening track, “Defanged.” It’s as relentless as the title suggests, opening with pummelling drums and searing guitars. The vocals—Liam Knowles’ guttural growls offset by Luke Scrivens’ clean, soaring melodies—hit like a one-two punch. Just as it seems the song might drown you in its weight, there’s a pause. A chance to breathe. Then it’s back, somehow even more visceral than before. It’s a bold opening, one that sets the tone for the rest of the album.
From there, the record takes you on a journey, with its twists and turns as unpredictable as they are satisfying. “Death Curl” leans into the band’s progressive tendencies, with intricate guitar work and subtle shifts in dynamics that create a sense of constant motion. It’s heavy as hell but also expansive, as though the band is exploring just how far they can push their sound.
Then there’s “Still Sickness,” a track that strips things back without losing an ounce of intensity. The quiet moments are laced with tension, every note feeling like it might explode—and when it finally does, the payoff is immense. It’s a masterclass in restraint, in knowing that sometimes what you don’t play is just as important as what you do.
Hidden Mothers are at their most experimental on tracks like “Grandfather” and “The Grey.” The former has a gritty swagger that feels almost out of place in the best way possible, with Scrivens’ vocals taking on a gruff, Americana-inflected tone. Meanwhile, “The Grey” is darker, moodier, and slower-paced, pulling you into its depths with ominous guitars and a haunting vocal performance. These tracks show a band willing to take risks, to push beyond the confines of their genre without losing sight of what makes them unique.
By the time “Violet Sun” rolls around, it feels like the album is circling back to its roots, revisiting the themes of tension and release that defined the opening tracks. It’s a song that could easily feel repetitive in lesser hands, but here it serves as a reminder of just how far the band has taken you. And then there’s “Haze,” the closing track—a slow-burning, atmospheric piece that lingers long after it ends. It leaves you with questions, emotions, and a strange sense of longing. It’s the perfect ending to an album that never once takes the easy way out.
A big part of what makes Erosion/Avulsion work is the production. Joe Clayton’s touch is evident throughout, his ability to balance the band’s dense, layered sound with clarity and precision ensuring that no detail is lost. The guitars shimmer and scream, the drums hit hard without overwhelming, and the vocals—both harsh and clean—sit perfectly in the mix.
What really sets this album apart, though, is the emotional weight behind it. Every scream, every chord, every lyric feels like it comes from a deeply personal place. The themes—loss, isolation, resilience—are universal, but the way the band presents them feels uniquely their own. There’s an urgency here, a sense that these are songs they needed to write.
At times, the sheer density of the sound can feel overwhelming, and there are moments where the transitions between sections feel slightly abrupt. But what matters is that Erosion/Avulsion is an album that makes you feel something—and in a world where so much music can feel disposable, that’s no small feat.
Hidden Mothers have delivered a debut that’s as ambitious as it is unapologetic. If this is the starting point, the possibilities for where they go next are endless.
‘Erosion / Avulsion’ is out via Church Road Records on 29th November 2024.
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