HMLTD bring their ambitious vision to life on The Worm

The product of two years’ work and almost fifty collaborators, The Worm is an album as eclectic as its influences: from the Neon Genesis Evangelion anime to Chaucer’s Canterbury Tales; Stravinsky’s “Rite of Spring” to Nina Simone’s “Sinnerman”. Overarching its jazz, gospel, and spoken word components, there’s a natural theatricality to this record that feels reminiscent of a West End soundtrack – a testament to HMLTD’s world-building skills.

The “Worm God” (interchangeably referred to as “the Worm King”, “the worm”, and “the pink thing”) snakes its way throughout the tracklist but leaves room for songs to stand alone. “Days” is the greatest departure away from the general narrative: the furore of “The End Is Now” falls away for a haunting, beautiful piano ballad that sees vocalist Henry Spychalski writhing in his depression. It’s followed by “Saddest Worm Ever”, a jazzy dance number that rages against oppressive power.

Later, “Past Life (Sinnerman’s Song)” builds on its namesake’s original piano, constructing an elaborate outpouring that runs for over seven minutes. Title track “The Worm” leans furthest into the musical theatre sound, as an ensemble choir declare that “there’s a worm in everybody / and we live in / in the belly of the worm”. It would be easy for such fantastical, absurd storytelling to pull listeners out of the moment, but HMLTD somehow manage to keep you there – your belief suspended just long enough to hear the soaring guitar solo that closes out “Lay Me Down”. Their second full-length may be short, but it expertly treads the line between fantasy and realism, between pretension and honesty, and wraps it all up before you’ve had time to raise an eyebrow.