Hateful Abandon - Move

Hateful Abandon – Move OUT NOW

Hateful Abandon - Move
Hateful Abandon - Move

Out Now on CD: Hateful Abandon – Move

We were always going to get darker. It’s been the plan all along.

Move is the long anticipated follow-up to 2008’s Famine. The music is darker, the lyrics are bleaker. The planet is dying, they’re printing money to burn it. Forming single-file into the abyss. They are trying to slow the inevitable; this is the sound of acceptance.

Hateful Abandon present their despondent and angry reaction in Move. The sound remains uniquely their own, but progresses with new techniques and a harder attitude. A strong leading bass, twisting and ambient guitars, the percussive backbone from Swine, new electronic prominsence and the soulful roar of V/M!

Influence remains from seventies and eighties visionaries Killing Joke, Public Image Ltd, Dead Can Dance, Joy Division, The Cure; and a background in Black Metal, though these are only pointers to the distinctive sound Hateful Abandon have managed to refine on Move.

Lydon wailing like a Gull in my ears, E. Smith grunting-ah, Lemmy purring…Brindley and Price smashing lager and smoking the bass.

1. The Way it Ends
2. Human Clockwork
3. Copper Foundation
4. Poundland
5. Buried
6. Spies in the Wire (CD EXCLUSIVE)
7. Hive Mind
8. The Lost


1. The Way it Ends – A song about what is happening around us now, the weather is screwed, natural disasters riddle the Earth, culture is dead and everything is full, bloated, dying. The worst thing is, it’s too late. You can be as ‘pro-active’ as you like, try and reduce your ‘carbon footprint’, recycle etc. All you are doing is slowing down by the tiniest degree the death of a planet that is already on life-support. Enjoy what you are doing now and watch it collapse. It’s better to come to terms with it. The track begins with the sound of a credit card we taped to a large industrial fan and continues into a grinding hypnotic dirge, highlighted by melodic synth and a sea of wailing guitars. I was genuinely livid when I recorded the vocals and I think you can hear that immediately.

2. Human Clockwork – This is about a man who wakes up one morning and realises how controlled he is by everything. His life seems planned out. He starts to feel like a robot, and after a while becomes convinced he is one. He becomes obsessed with the nagging feeling that he is not a real human being. He opens himself up, only to find that he is human after all. Any amateur psychologists in the house? This track is one that has been hanging around in one form or another since 2009. It was great to go back to it. Note the anti-crescendo at the end of the song.

3. Copper Foundation – A song about self doubt. This is one of the first tracks we did after ‘Famine…’ we wanted to break the mould we had created a bit. Another hypnotic dirge. Again, with this track I was so angry when performing I didn’t even follow the lyrics.

4. Poundland – This fucking Country. When they aren’t counting coppers they’re wasting it on crap. Blindly spending money they don’t have on shit they don’t need. Ok, we all do it to a certain extent (actually, no. I need records and books to live damn it…). Don’t get me started on the Royals. We actually wrote this track last, didn’t take us very long really. The ‘whooshing’ sound you hear before the verses is a drill pounding into the studio wall.

5. Buried – A song about being rotten. Having a rotten soul and mind and keeping that a secret. It’s about taking yourself apart bit by bit and examining the contents.

6. Spies in the Wire – This is a Cabaret Voltaire cover. A different mix than you may have heard already. Thanks to Todestrieb for working hard on licensing the song.

7. Hive Mind – Hive mentality, people who can’t see outside their little niche really get to me. Blinkered fools who judge without thinking. Quick to accuse the little bastards are. Connoisseurs will note the sample from Charles Bronson towards the end of the track.

8. The Lost – This has a similar message to the first track on the album. The most ‘pop’ song on the album and this will probably be the last time we sound as such. Never say never though.