Hinkley’s Peak of Light is an excellent album with material that, while sitting outside of the contemporary pop zeitgeist, remains firmly-footed in the realm of experimental rock ‘n’ roll. The album-opening “Above Us” opens with a folkish intro before wandering off the path and over a gorgeous musical horizon of tortured guitar, electronic noise, rhythmic crescendos, and oddball sounds. “Bible Has No Soul” opens gently with pastoral keyboard work before launching into a sort of shoegazing sonic squall that belies the song’s soft-peddled vocals, but “Living In the Shadow of the Universe” displays the full range of the band’s talents. Opening with a subdued vocal passage accompanied by chiming guitar, the song gradually builds into a full-blown assault of bludgeoning instrumentation and hints of feedback.
Hinkley’s “Untitled” is a masterful (if somewhat disturbing) story-song that places the emphasis on lyrical delivery, its brilliant wordplay accompanied by a minor-key tsunami of instrumentation which, in turn, creates an ethereal, otherworldly vibe that is positively enchanting. The instrumental “Porn’s Revenge” is similarly structured, the song’s deceptively elegant fretwork concealing a malevolent underbelly. If Hinkley had been releasing albums on Sub Pop or Matador Records back in the 1990s, they could have been world-beaters. Instead, they have to settle for entertaining an aging rock critic with music as creative and challenging as that found on Peak of Light. All three of these bands are inventive and not afraid to take musical risks, and I look forward to hearing what they all do in the future.