Hood always felt very much like an English band – specifically, Northern English. Their songs had a gritty, blurred, romantic, hopeful and bleak combination of things going on. For a while, it seemed like they were on their way to becoming a bit of a Big Deal; Silent ’88 represents their ‘let’s break America’ album, in as much that it was released on the always excellent Slumberland Records. They went on to sign to Domino, play All Tomorrow’s Parties, gather a growing amount of positive vibes from around the globe before… fading away. How appropriate for a band that felt like they were documenting thoughts and memories, rather than contributing to an overall grand plan either within their own minds or within a wider context.
Slumberland, by the way, are a great American label, having released hundreds of records with a discography that stretches way back to the late 1980s. They’ve released Velocity Girl, Black Tambourine, Stereolab, Lilys, Boyracer, The Pains Of Being Pure At Heart, Crystal Stilts and, well, endless lists’ worth of good stuff. They were always plugged into the rich underground world of pop-influenced independent music; and in fact they still are, as they remain active to this day. Their priorities were often right; for example, the rear sleeve of Silent ’88 includes the message “thanks for buying this record on vinyl”. There are treats within, as the sleeve not only includes the album, but also an A4 photocopied insert and a four-track 33rpm 7″ single.
There’s no credit given for the sleeve or insert artwork, but I’d hazard a guess that they’re at least in part due to Hood mainmen (and brothers) Chris and Richard Adams. Throughout their career Hood’s artwork maintained a strong feeling of mystery and a conscious air of DIY – from the hand-coloured artwork of early releases to their last, which still used the familiar Hood logo, photographs taken by band members, and hand-scrawled/typed track listings and notations. That hand-scrawled writing was in the familiar handwriting of Richard Adams, who was an active participant in the vibrant 1990s fanzine/letter-writing/tape-and-record-exchanging scene and from whom I received many letters.
Some great song titles on this album, by the way: “Trust me, I’m A Stomach”; “Delusions Of Worthlessness”; “Smash Your Head On The Cubist Jazz”; “Being Beaten Up”.