The Automatik

3CG Records

Every time I mention that I like Hanson, the collective response goes something along the lines of, “Aren’t those the little boys that sang that song? I hate them!” The infectiously catchy “Mmmbop,” the hit single that put Hanson on the bedroom walls of millions of teen girls, came out seven years ago, but for whatever reason, Hanson will always be eleven in the minds of most of the world. Listening to the music they’ve released since then would probably be a huge shock to music fans who still picture them as tow-headed, squeaky-voiced kids.

I fell in love with This Time Around, Hanson’s second album, so my anticipation for this new release was high. But despite repeated listenings, I’m still disappointed in Underneath. At first I wasn’t sure if my lack of enthusiasm for the songs was a production issue. I saw many of these performed live on Hanson’s acoustic tour last year and was astonished by the immense talent of these three brothers. The acoustic album that was released to support the tour didn’t have the same punch (and was missing the stunning “Rock and Roll Razorblade” as well). The new album has the same problem.

My criticisms of Underneath are not the kind I ever expected to make about Hanson, especially since This Time Around was such a giant leap forward for Hansonkind. Underneath is not a complete washout; in fact, some of the songs may be the best Hanson has ever written. Yet some tunes don’t sound all that different from the output of other decidedly less talented bands. Granted, one could argue that a not-so-good Hanson song is better than the best Creed has to offer, but still. I feel terrible complaining since it seems that the last few album reviews I’ve written have been along the lines of oh-but-their-last-album-was-so-much-better. But I must be honest.

“Strong Enough to Break” has melancholy hooks and the brothers’ familiar harmonies, plus one of those heartbreaking bridges that Hanson do so well. “Misery” is one of the more adult sounding songs that Hanson’s written to date, with a strong vocal from Ike. The rocking, catchy “Get Up and Go” and Zac’s lovely “Lulu Belle,” (hidden track) are also standouts, while the final track, “Believe,” is a fine example of how Hanson excels at making the music as compelling as the lyrics.

Surprisingly, most of the songs on Underneath are lyrically weak however, even compared to Middle of Nowhere, Hanson’ first album. They’re vague, and not all that original. It’s not just the lyrics, though. Musically, the album is sometimes dead in the water. The title track has a somewhat provocative subject, but the song is plodding, despite strong vocals and lyrics. “Dancin’ in the Wind” has a great, almost Foo Fighter-esque hard rock feel, but Hanson don’t need to sound like Dave Grohl to be good.

“Lost Without Each Other” and “Penny and Me” are rich with the Hanson sound, but they don’t push the envelope. “Crazy/Beautiful,” with its horn section, is interesting, but the chorus falters and makes the song sound like an experiment gone slightly awry. “Broken Angel” should be a masterpiece, but its pedestrian song structure misses the mark, despite astounding vocals from Zac.

Hanson’s sound is obviously heavily influenced by soul and R&B, but they’ve never sounded like a Slow Jam band. This Time Around showed Hanson dipping their toes into power pop, classic rock, and even gospel. There’s a little bit of funk in the intriguing “Hey,” but on the whole, it almost seems as if Underneath is swimming in the “alternative rock” sound of the late 90s. It’s not terrible, but it’s not Hanson, either.