From the depths of Los Angeles is singer, songwriter, guitarist and producer Cory Hanson. Best known as the frontman for the psychedelic rock band Wand, Hanson has had his foot in the musical world for ages now. He has been in the bands Together Pangea and Meatbodies and collaborated with the likes of Ty Segall and La Luz.
Throughout the years, Hanson has been quietly releasing solo work under his own name. 2023’s “Western Cum” garnered Hanson attention outside his efforts with Wand, landing him yet another feature on Seattle radio station KEXP and a showcase with guitar manufacturer Fender.
Once you get past the strange title and ethereal artwork, “Western Cum” is a true hidden gem in the world of underground rock. The record harkens back to classic hard rock and proto metal, while still maintaining a unique identity. While many modern hard rock albums often fall into the deep and cavernous hole of derision, Hanson manages to escape this.
Many will be quick to point out similarities between “Western Cum” and some of Wand’s modern output, but they have some key differences. Wand’s latest sludgy efforts forgo their quirky psychedelic sound in favor of a blow-your-head-clean-off wall of fuzzy guitars and guttural bass. This record keeps a delicate balance between the thunderous rock and softer psychedelic elements that brought Hanson his notoriety.
The album opens with the energetic and introspective “Wings.” The main guitar lick is a harmonized, spiraling line that’s as much of an earworm as the chorus. The track is almost instrumental, only containing two verses at the beginning of the song before exploding into a guitar solo. The tone of Hanson and Tyler Nuffer’s guitars is ear candy.
“Housefly” is a highlight of the record. Stylistically, it has the same structure as “Wings,” with quiet verses and loud guitars between and a blistering solo in the second half. What sets these two apart is that the melodies in “Housefly” are much catchier than the former track. While that’s subjective, there’s a reason it was released as the lead single. The lead guitar line trips up and down, syncopated heavily and harmonized between Hanson and Nuffer.
“Persuasion Architecture” erupts from a wall of feedback with a sound that can only be described as an assault on the ears with a guitar. Quickly dropping into just Hanson’s vocals and a lonely acoustic guitar, the track builds back up before returning to the buzzsaw sound from the beginning.
In “Horsebait Sabotage,” the band plays in a funkier, syncopated style complete with prebends and angular chords. Hanson’s vocals and songwriting shine through on this track, as his smooth vocal style cuts through the track’s abrasive sound.
The record switches things up with the next track, “Ghost Ship,” which is the closest thing “Western Cum” has to a ballad. Hanson croons about loneliness and emptiness over a soft instrument of clean and slide guitars. The slide guitar gives the track that classic Americana vibe, though this record is nearly the furthest thing one can get from country.
“Driving Through Heaven” is a strange one. The penultimate track is a 10-minute sprawling journey through nearly every style and sound the record has explored so far. It’s here that Wand’s jam influence bleeds into Hanson’s solo work. The back five minutes of this song are an extended jam that meanders around. There isn’t much of a point or climax to this section, although the verse at the end is infectious.
The closer, “Motion Sickness,” is another ballad, but it’s more forgettable than “Ghost Ship.” The dual harmonized guitars make a return, this time playing the same line before soloing at the same time, which produces a cool effect when hard panned into each ear. This track suffers from weak melodies and verses, taking a lot out of what should be a memorable closer.
“Western Cum” is an exercise in whiplash. Nearly every track has a switch between soft and loud, clean and distorted. Hanson’s soft vocals and thoughtful lyrics complement this sound perfectly. The biggest issue in this record is its tendency to meander on certain sounds. Though this record has its faults, it’s one that’s easily accessible yet still wildly unique and creative.
Rating: 4/5