HMLTD – FANGS (2026)

In 2026, London-based art rock ensemble HMLTD released 'Fangs,' a record that signals a significant transformation within their musical identity and the evolving scene centered around Brixton’s famed venue, The Windmill. Known for its intimate 150-capacity setting, The Windmill has emerged over the past decade as a crucible for an avant-garde art rock movement, fostering groundbreaking bands such as Black Country, New Road, Black Midi, and the Last Dinner Party.

HMLTD’s trajectory within this milieu has always been marked by a refusal to adhere strictly to any single genre. From their inception, the band distinguished themselves through flamboyant, glam-inspired aesthetics that sharply contrasted with the more muted, post-punk stylings of their contemporaries. Musically, their early efforts showcased a restless eclecticism, effortlessly fusing post-punk and Americana with elements as diverse as trap, industrial, electronic body music (EBM), and classical influences.

This genre fluidity became a hallmark of the Windmill scene, with HMLTD often ahead of the curve. Their 2023 album, 'The Worm,' further cemented their reputation by embracing baroque pop and high-concept art rock opera frameworks, influencing a stylistic shift among peers who increasingly incorporated visual regality and gothic motifs into their artistry.

'Fangs' represents the next evolutionary step for HMLTD, as they delve deeply into darker sonic territories characterized by goth and industrial rock influences. The album incorporates the mechanical rhythms and distinctive synth textures reminiscent of vintage DX7 keyboards, coupled with lower-register vocal deliveries that evoke gothic traditions. Despite this tonal weight, the band retains their signature theatrical exuberance and a buoyant energy throughout the record.

The group has coined the term “übergöth” or “götherdammerüng” to describe their unique fusion of goth stylings with dramatic, operatic elements. This neologism reflects broader trends within the Windmill community, where several bands have integrated non-traditional rock instruments—such as brass, violins, and woodwinds—into gothic-inflected compositions. Acts like Tiss Vampiric, Heartworms, and Jesus and the Zealots exemplify this cross-genre experimentation.

Tracks such as “Chateau Vamp Freestyle” and “Shudder” showcase the album's diverse gothic palette. The former channels deathrock cabaret with piano-driven crescendos and brass arrangements, drawing parallels to post-punk-era bands like Sex Gang Children. In contrast, “Shudder” leans toward a more danceable darkwave sound, recalling the synth-driven style of Wolfsheim and the recent horror-punk crossover seen in bands like AFI and Creeper.

Vocalist Henry Spychalski employs a broad range of techniques across the album, from Trent Reznor-style vocal fry in early songs to emotive, crooning tones akin to Justin Warfield's work with She Wants Revenge. Notably, the track “Grab the Crucifix” features a rare black metal scream, which adds a dramatic contrast to his otherwise theatrical tenor.

Moreover, 'Fangs' incorporates contemporary pop influences, particularly from post-hyperpop and electropop artists such as Charli XCX and Slayyyter. This fusion is evident in rhythmic patterns and vocal deliveries on songs like “What the Hell,” “Umami,” “Dancing on Your Grave,” and “One Thousand White Horses.” These elements connect with the Windmill scene’s nostalgic revival of mid-2000s indie sleaze fashion and aesthetics, popularized by figures like Hedi Slimane.

Lyrically, 'Fangs' unfolds as a concept album narrated through the perspective of a vampire navigating the excesses of late-stage capitalism. This narrative device critiques consumer culture and global overconsumption, using vampiric metaphors to explore societal themes. The lyrics also nod to pop culture with a tongue-in-cheek sensibility, weaving references that oscillate between humor and pointed commentary.

The album further deepens its intertextual complexity by alluding to relationships within the Windmill community. For instance, “I Used to Ride in Limousines” reflects on Spychalski’s connection to Abigail Morris of the Last Dinner Party, mirroring motifs from her band’s own songwriting.

Through 'Fangs,' HMLTD have crafted a compelling synthesis of gothic music's diverse subgenres—ranging from dark cabaret and deathrock to darkwave—while preserving the eclectic spirit that has defined their work and their scene. Their approach not only honors the historical roots of these styles but also pushes them forward, aligning with a resurgence of interest in gothic aesthetics across post-2022 underground music movements.

The album stands as a testament to the dynamic creative ecosystem fostered by The Windmill and its artists, highlighting HMLTD’s ongoing influence and innovation within the contemporary art rock and gothic domains. Details on further touring or collaborations tied to 'Fangs' remain limited as of now.