Converge may release music at a less frequent pace these days, but it’s clear that when they do write and hit the studio there is a wealth of material to choose from. Sometimes this has resulted in splits or EP’s released around the same time as one of their full lengths (such as Beautiful Ruin coming a half year after The Dusk in Us), but 2026 saw the band do something they hadn’t before and put out two full lengths in the same year. Love Is Not Enough came through with a destructive amount of force back in February, stripping things back to their foundation in favor of a more direct and concise attack compared to some of the sprawl and experimentation in Converge’s discography. Hum of Hurt follows that up with another concise effort, but this time things are oriented around more of a noise rock type push and pull alongside more sludgy elements. It comes across like a worthy companion piece to Love Is Not Enough while still having plenty that helps the album stand on its own.
It’s clear that where Love Is Not Enough leaned more into the pure speed and aggression side of Converge’s sound, Hum of Hurt is more open to experimentation and slower tempos. Opener “Slip the Noose” gives listeners a good idea of the ride they’re in for, as while you’re greeted with faster drumming upon pressing play the song uses its shorter run to give concentrated bursts of sludgy, mid-tempo grooves and faster, more aggressive riffing. While listening it’s clear how much noise rock and sludge influenced the creation of this material, as tracks like “It Only Gets Worse” and “I Won’t Let You” have the type of push and pull between the guitar, bass, and drums that defined a lot of classic noise rock and sludge in the 90s and the low-end really pops out more on this album because of this. But no matter what Converge’s intentions were, their trademark sound remains in play and there are plenty of breakneck transitions and metalcore/hardcore elements that make it clear who you’re listening to. But there are other details that give Hum of Hurt its own place within the band’s discography, such as the unexpectedly hazy melodies on “It’s Not Up To Us”, the noisier bursts and super heavy bass lines that drive “Dream Debris” forward, or the downright bleak sounding “It Used to Matter”. The way that “It Used to Matter” ties in to the title track makes for a late album highlight, plus “Nothing is Over” wraps things up with extended bursts of effects and a moodier, introspective cadence. I do think the second half stands out just a little bit more due to how dark and desolate the sound gets, but like its predecessor the conciseness makes it easy to take the material in from beginning to end.
Like Love Is Not Enough, there are no guests on Hum of Hurt and this gives the focus on the vocal front entirely back to the band. Jacob Bannon was in fine form back in February and that remains the case here, as his screaming is razor sharp and cuts through the noise and density of the rest of the band with ease. Kurt Ballou and Nate Newton continue to add backing vocals on many of the songs, and the way they come together keeps the energy level as high as possible for the entire run. Tracks like “Doom in Bloom” and “I Won’t Let You” emphasize more of Bannon’s cleaner yelled approach that was prominent on albums like All We Love We Leave Behind, bringing back some post hardcore influence, and this continues to show the more dynamic elements he can bring to the table. The title track deserves special mention, as the sections where things transition over to Nate Newton are truly powerful as his fuller growl stands tall above the instrumentals.
There are a few sections on the first half that don’t grab me quite as much compared to the second, but for the second time this year Converge has delivered an intense and engaging listen. Where its predecessor went for the throat a bit more often, this one is focused on bleaker atmosphere and weightier grooves while also experimenting a bit more with the peripheral elements that make up the overall soundscape. Between the two I’d say they’re pretty equal in quality and it’s hard to decide if one truly edges out the other, but if you’re a longtime fan like me both are worth spinning back-to-back. Hum of Hurt is available from Epitaph Records.
-Review by Chris Dahlberg