Most of the articles on HMLTD seem to center on the word “hype.” As this has a shelf-life, it’s not surprising that reviews of their 2020 release West of Eden leads with “it seemed as though HMLTD’s moment had come and gone.“
Here you have a band fresh out of Sony rehab, moving to a venerable London indie label and coming out with this release. It could have gone so much worse. It’s a nononoyes scenario.