HMLTD (or Happy Meal Limited, as they were previously known as), the six piece art/glam punk group (yet incorporating many other genres) hailing from London have so far proved themselves to be one of the most unique and forward thinking groups emerging from the underground punk scene, not just in the UK but across the board, through their smattering of singles and EP’s in their discography since 2016. Ever since hearing of them through some of these early singles and having seen them live at the Brudenell Social Club as my first concert of university in late 2017, and again in Belgrave in 2018, they have been a group I have kept an eye on.
Their debut album, West of Eden, finds a place for some of these previously released singles that didn’t appear on their Hate Music Last Time Delete EP in 2018, yet still finding room for 11 more original tracks. Unfortunately however, the singles released before this album makeup the majority of the highlights on this album. Henry Spychalski’s vocals are delivered in a very exaggerated bombastic English croon reminiscent of 70’s glam acts but at the same time being very original as he switches from this to dark almost screamed vocals.
The opening track, The West is Dead is an apocalyptic synth/post-punk track, one of the most straight forward mission statements on their debut album, touching on contrasting western issues of late modernity, such as consumerism, philosophy, pollution and capitalism. Another highlight is The Ballad of Calamity James, this song is a perfect prelude which sets up perfectly their previously released To The Door – one of their earliest releases and a definite album highlight. The track opens with snarled glam vocals with a fantastic giddy and almost barn dance-esque riff, but makes this song very interesting is the unexpected transitions from this into trap beat breakdowns with dark 808 high-hats starting just after a minute into the song. This combination of these two styles is enjoyably unique and tastefully done, one of the things that makes HMLTD stand out above the rest. Following this is HMLTD’s glam rock masterpiece Satan, Luella & I, also another previously released single touching on issues of modern social life and politics.
Mikey’s Song is another highlight and another deep cut original off the album and in my opinion the best. This song is a complete departure from any punk aesthetic and is more reminiscent of an 80’s synthpop song and shows Henry showing off a more poppy side to his voice very successfully. In unexpected HMLTD style, the song Why? is a straight Hatsune Miku song with Japanese vocals, accompanied with an anime music video as a single for this album, not a massive fan of this track but it’s interesting that they would choose to include it on the album, showcasing their variety of different influences and styles, although when listening to it, I find the title of this track very appropriate. 149 is another hip hop inspired track featuring Tallulah Eden’s vocals on the chorus, a mediocre track unfortunately. Following this is the two Joanna tracks that were famous in their live show setting. The first track, Joanna, is imagined as an upbeat piano ballad for the purpose of this album, the lyrics talking about a deep love and obsession with this woman known as Joanna. The following track Where’s Joanna? is a variation on this piano tune, now with a showtune synth punk vibe to it, now talking about how he’s killed and presumably dismembered Joanna and all of the places around his house that he keeps her body parts, the vocals sounding more maniacal and crazy as the song progresses. These songs are a humorous concept to be used in this album yet not something that I can see myself returning to often. Unfortunately after these tracks the album hits a 5 track lull until the end of the album with some generally mediocre or unimpressive tracks which should’ve been cut. The song Death Drive is an irritating industrial track and unfortunately an example of where Henry’s exaggerated vocals just get on my nerves and sound tedious with this style. Unfortunately I feel the same way about the vocals on Blank Slate, the opening and build-up of this track promising that it could’ve been better but the climax and chorus of the song becomes repetitive and annoying very quickly.
Overall, a very unique album in terms of the variety of different styles and influences incorporated, from art, synth and post-punk, to synth pop, glam rock, hip hop, trap, anime music and industrial rock. However I think the fact that the album is slightly all over the place is one of its main downfalls. It does not seem very focused of an album and instead a compilation of the singles pulled together from previous releases which haven’t had a place on an album, alongside a bunch of tracks made in different styles, almost like they are trying to prove themselves to the world, which is what a debut album is supposed to represent I guess. Although its definitely a good start, there are flaws in this album with songs that are either mediocre or bad, some artistic experiments such as Why? that did not pan out, although there are numerous highlights amongst the singles. In the future I would like to see something more conceptual, as i expected this album to be a lot more politically conceptual based on the lyrics about the failings of western capitalism on the opening track. Something that flows better as well and feels less like a bloated compilation, as well as Henry finding the song styles and songwriting that fit his vocals the best. Me being a big post punk fan, I enjoy these tracks the most and find this style suits him well, I would also like to see them explore their poppy side as well as shown on Mikey’s song.
A decent debut album: 6/10
Fav Tracks – The West is Dead, To The Door, Satan Luella & I, Mikey’s Song, Joanna
Least Fav – 149, Death Drive, Nobody Stays in Love, War is Looming,
HMLTD- WEST OF EDEN / POST-PUNK / GLAM-ROCK / PROGRESSIVE POP
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