The Hobknobs

The debut from the Hobknobs slips into the stillness of the most tender ends of post-punk. With roots in Dutch bands Lewsberg and The Klittens, the group has plenty of pedigree in the genre, but they take the temperament to its most serene ends. There’s something worn and wonderful about the band’s sound. You can find the unraveled threads of Young Marble Giants, Television Personalities, Marine Girls, and Lou with and without VU, but at the heart of The Hobknobs there’s more to lead than to follow. The duo weaves an intimacy that’s both aloof and somehow still vulnerable. Wrapped in woolen strums, the band plays to please themselves; nocturnal lullabies that filter through the heating grates, morning missives that emanate from the porch cushions. The band’s guard is down simply because it feels like they don’t think anyone’s listening, or care as much if they do. But their hooks still sink just below the skin and their simple melodies burrow into the brain with ramshackle charms.

Arie’s time in Lewsberg still comes through every time he hits the mic, wobbling through the acoustic and bass bubbles of “Are You Looking For Something.” Yaël, for her part, has stripped away much of the heft that comes with The Klittens, sanding pop to its sanguine core. Her leads are tied up in the edges of dream, tender odes that whisper wonders through the throb of bass and the bristle of strings. She captivates the listener on her lone tracks, but its easy to see that the band blossoms just a bit more as they come together. The rapport between Dekker and van Vliet speaks to the intimacy bubbling below the surface. They confide in one another, and we’re all induced in the headrush and heartache of their hushed hymns. Sometimes the best pop records don’t need much more than the sparest setups. Gilt and glitter are all well and good, but The Hobknobs prove that a brilliant hook, a steadfast resolve, and undeniable chemistry outstrip pop varnish anytime.

Support the artist. Buy it HERE.