Hiels – Let It In – LP Review

The Ukranian alt-rock trio Hiels released the LP Let It In on the 31st of August.

Hiels - Let It In


Bringing a range of ideas to the album Hiels launch their trajectory higher in the sky for a wider audience to observe.

Opening with the delightfully punchy Cockroach which veers through a spiky new-wave number and maths-rock delivery – the highlight and why this is my pick of the release is the superb percussion which zeniths in a running of sticks over tautened skins starting at about one minute and six seconds that sounds exactly like the amplification of cockroaches scrabbling across the floor.

Next is a switch of pace with Hardbeat which finds a calypso guitar and percussion opening before compacting then expanding through the approaching six minutes of skipping beats, culminating in an early ’70s rock spaciousness that reminds of Mr. Blue Sky by ELO.

Love To Share allows Hiels to introduce a more tender vocal led number in which once again they evidence their ability to pull a rabbit out of every track as sticks on drum rim coexisting with blousy guitar provides an unanticipated interpretation.

The fourth track – My Head (Is Like An Airballoon) allows the thoughtful bass to take centre stage and giving the twist with the markedly disinterested vocal which by its monotone gives the line from which everything evolves. A deft creation it is impossible to not enjoy.

Following up with another switch in emphasis with the almost folksy merseybeat referencing –  You Said prior to the composition easing into an fuzzy rock- guitar interpretation of traditional Hopak that once again displays the depth of ability of the trio bring in to context – disparity.

Suddenly a piano appears from nowhere with just one chord that for its presence has the listener referencing Tchaikovsky in their mind for the remainder of Brothers despite it gliding into a ’70s influenced stadium rock number.

SFU Girl brings everything back to earth with harmonica becoming subsumed behind the streaming steel of the drum-kit in a track which invites the audience to take more sips of magic mushroom tea the further it progresses.

The three minutes and ten seconds of Rita revolves around the downtempo psychedelia of their introduction.

Surfers – hints, in its title, a good indication of what is to come – as Hiels continue in their natural space of ’60s psychedelia, which they deliver with considerable panache.

The scratched guitar of The Nature’s Song will be recognised by their introduction to the site.

In case you were wondering where we are on the track count – One Day is the penultimate on Let It In and once again the trio open up a different trajectory of sound with a resounding bass alongside accompanying drum prior to lifting off into a outer-space as, rather than gathering weight through the development of the track, it becomes more fleet-footed in the angular equations of maths-rock.

Sadly, we come to the end of the album with the appropriately named Good Night as the roughly fifty minute LP, that not only keeps the listener engaged but also concentrating, loosens its grip to allow the mind to relax and refresh.

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Daniel ZubkovViktoria Podroiko and Evgeny Glebov from Kiev in Ukraine form the downbeat-psychedelia out-fit Hiels.

Hiels - downbeat-psychedelia from Ukraine


Pipettes of sparkle lay within the out-put of Hiels which gives the morose starting points an intriguing circumlocution that spirals its way into the brain. The room darkens as the trio enter the room, casting a pall that envelopes the listener in dank claggy moss, from which alpine flowers emerge like surprising psychedelic triptychs.

The murky bass casts aside sunlight as grey tinted percussion hammers in rusty iron nails and a monotone vocal shuffles across the floor, only for guitar to stand in cater-corner of sunny disposition giving Hiels a striking alarm that brings joy to the ear as the trio are able to contort from gnarly knots to trippy elasticity.

Following on from the three track single Hardbeat of last year, Hiels are finalising their début LP with the track The Nature’s Song being the first to playground. A number that finds the trio extending their conceptual commentary of the world in which they find their stomping ground with guitar being given more expanse into psychedelia simultaneously lifting the voice in harmony. Bass and drum remain stoic nay-sayers, giving the track an inner-turmoil of considerable interest.

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