Jeff Rosenstock: HELLMODE Album Review – Warungku Terkini
Jeff Rosenstock doesn’t want your money. In the 2000s, as the mastermind of Bomb the Music Industry!, he turned down record label offers, gave away his music for free, and spraypainted his fans’ shirts instead of selling merch at shows. With an ethos equally indebted to the militant anti-consumerism of Fugazi and the fraternity of Less Than Jake, the jack-of-all-trades has long believed DIY is the only answer. “Not only do I think it’s sustainable, I can’t imagine how else to do it,” Rosenstock said before the band’s hiatus. This spirit has remained consistent during his solo career, but as the Emmy-nominated musician stared down 40, he stopped refusing financial assistance and accepted a fancy studio session to record HELLMODE, his fifth solo album, at the behest of Polyvinyl.
Inspired by System of a Down’s recording sessions for Toxicity, Rosenstock and go-to producer Jack Shirley booked a week at EastWest Studios, a space more famously known for Whitney Houston and Pet Sounds. While the luxe setting could have presented an ethical compromise, Rosenstock inhabits it on his own terms. Just as he’s begun playing 2016’s “Festival Song” at major festivals, he isn’t sanctimonious enough to deny partaking in the capitalist machine he criticizes in his songs, especially if it involves pushing the limits of how his art can evolve. Rosenstock and Shirley avoid the pitfalls that major studio sessions can tempt, like using every instrument within reach or cranking the production beyond recognition. Instead, he went big on HELLMODE by going smaller. It’s the prettiest album he’s ever made, but it still gets you riled up.
That level-up is most audible in HELLMODE’s punk-rock tracks, which offer a dialed-in but not dialed-back tone. “LIKED U BETTER” takes a bite out of Rosenstock’s bread and butter: simple chords strummed aggressively, a bumpy beat, a shout to intro the guitar solo. “DOUBT” takes another classic Rosenstock route: an ambling first half that gives way to a double-time rhythm and gang vocals. Instead of sounding scuzzy like previous albums We Cool? or WORRY., he incorporates textural space. Even the nods to ska—jubilant “oi oi oi” hollers and shimmering trombone by SKA DREAM star Jer Hunter—are tempered. Nowhere is this clearer, or more fun, than “FUTURE IS DUMB,” where Rosenstock commits to ferocious screaming. With every repetition of “The world doesn’t owe you,” his voice grows hoarser—and when the song reaches its euphoric breakdown, he kicks into overdrive for one last wail.
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