Tom Petty And The Heartbreakers - Hypnotic Eye (Album Review)
Friday, 01 August 2014
Written by Simon Ramsay
If there were such a place as the Cool Islands, populated only by cool people whose sole purpose was exuding utter cool, Tom Petty would be the undisputed king. Thus, when he said his band's new album was a return to their rock roots, you knew it wouldn't be an embarrassing attempt by a gang of golden oldies to recapture their youth. If anything, you knew it would be super fucking cool.
Since arriving on the scene in 1976, Petty has consistently displayed an integrity and conviction few musicians possess. That trait is very much alive and kicking here, inspiring a record that's relevant, contemporary and surprisingly belligerent.
'Hypnotic Eye' seethes at the evils of modern society, and it's a joy to witness Petty castigating abusers of authority on the brooding dirty-blues glare of Power Drunk. Then, he’s cursing corrupt politicians during Burnt Out Town's raw honky-tonk stomp: “'There's ashes on Main Street and the mayor is cooking the books, even my best friend's are turning into crooks.”
The epic Shadow People, meanwhile, could soundtrack a Terrence Malick film as it mournfully contrasts war, art and the darkness and light within each of us. The taste and versatility of The Heartbreakers is typically bewitching, with deep pocket grooves, picturesque passages of melancholy and stinging guitar work from Mike Campbell.
Although a more rock-centric Petty effort will please fans who were disappointed by 2010’s psychedelic-blues beast 'Mojo', this isn't a recreation of the band's 1970s sound, even if All You Can Carry swaggers like the Rolling Stones at their raunchy best.
Instead, 'Hypnotic Eye' channels the urgency and tautness of their early efforts while drawing upon the sizeable pool of influences that decorated 'Mojo' to create a mature, rootsy rock record that tackles present day issues with the pissed off outsider attitude of their formative work.
Take American Dream Plan B, where a plucky underdog tries to rise above society’s roadblocks. Its huge riff bangs hard and heavy as Petty's swamp-dog vocal sneers: “I’m half-lit, I can’t dance for shit. But I see what I want, I go after it.”
Moreover, Forgotten Man mixes old and new with fizzing opening chords and rumbling rhythms that cheekily recall American Girl, until it bitterly bemoans feeling irrelevant and cast aside, providing a smart juxtaposition that contextualises the pain of ageing and declining importance.
Thematically, 'Hypnotic Eye' encourages us to see beyond the spin and deceit to discover the truth about ourselves and the wider world. The magic eye pattern on the album sleeve reflects that, with an image that only comes into focus when you concentrate and stare beneath the surface.
Faultlines masterfully showcases such introspection as The Heartbreakers complement Petty's metaphorical mastery with their inimitable touch. Its spy thriller Rumba feel, tectonic percussive brilliance and avalanche of nuanced changes echo a man's struggle with his inner demons.
Elsewhere, earthy Americana rocker Red River features divine imagery about a woman hiding her pain behind superstitions and the misty eyed jazz of Full Grown Boy finds Petty wrestling with maturity as delicate interplay from Campbell and pianist Benmont Tench breaks hearts.
The album is wonderfully cohesive, with a great flow and no dip in quality. However, there isn't a standout moment to match the likes of Refugee or The Waiting. Had it boasted a song of that calibre, we’d be approaching rarefied, virtually perfect territory.
Petty is now 63-years-old, so it's to be wondered if each record he and the Heartbreakers release will be their last. Let's hope this isn't their swansong, as the guys and their delightfully opinionated leader still possess a power, ability, honesty and hunger that's needed in times like these.
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