New Release: Liam Finn, Hyperverse

Liam Finn‘s fourth solo album, Hyperverse, is an ambitious example of a genuine one-man band ethos. He has recorded, produced, and released multiple albums and EPs, recently joining Crowded House, along with his brother Elroy for their latest albums Dreamers Are Waiting and Gravity Stairs. Both albums have received critical acclaim and enthusiastic fan reception, resulting in highly successful tours. Over the past several months, Finn has been releasing singles leading up to the full Hyperverse album, doing so publicly. His approach revolves around experimentation, incorporating fan feedback, and performing in a manner that feels more spontaneous than even the best stand-up comedians.

Throughout his life, Finn has observed his father, Neil, create and perform some of the most iconic music ever produced. It’s not surprising that he has chosen to follow in his father’s footsteps. It all started when he established his own band, Betchadupa, known for its dynamic pop-rock tunes. He even toured with his father. I first witnessed him as a 14-year-old on stage playing guitar alongside the elder Finn during the tour for his debut solo album, Try Whistling This. Now at 41, Liam has forged a career of his own, and it seems he is just beginning to hit his stride.

The first single and opening track, “I Just Want You to Be So Happy,” is a mid-tempo gem that highlights the sweeter aspects of Finn’s abilities. He sings, “Drunk Fools, still in bed / Singing songs that we hated in high school,” making it easy for all of us to relate to the experience of growing older and evolving. His strength lies in crafting catchy musical hooks while keeping listeners surprised.

“The Howl” is a Liam original (initially recorded on Crowded House’s Gravity), offering a more intimate vibe, and the track has a whole extra minute of music. Watching the video, you will notice the horse-riding wolf who gets the woman, in the end unmasking to expose our story’s hero. In this solo version, an altogether different wolf appears to be gaining consciousness (from a dream?) fully energized, dancing around the streets of L.A., with Finn unmasking at the end to reveal a wholly different being, that dark side within us all.

The album title may reflect a sense of projection, as his universe (and personal modus operandi) thrives on hyperactivity. Anyone who has attended one of his performances—or been fortunate enough to catch him as the opening act for Crowded House on their recent tour—knows this artist possesses the passion of a thousand rock stars. Witnessing his solo show can be an eye-opening adventure, as he layers guitar tracks, then jumps onto the drum kit to unleash a Category 5 hurricane. While he has matured and grown older, that intense performer instinct continues to shine brightly.

Finn demonstrates his talent for crafting poignant love and breakup songs with “Purple Dress,” expressing to another, “You’re forced to fight my poisonous bite / Cruel words I don’t believe but I can’t take back.” This song is reminiscent of his outstanding first solo album, I’ll Be Lightning, from 2007.

The guitar-driven “Unleash Your Animal” features Finn layering his voice to create intricate, echoing harmonies. This should-be hit is so catchy that you’ll find yourself singing, “I breaststroke / I mansplain / No knee-jerk / And migraine.” The song perfectly showcases Finn’s production style.

The sweeping “Love In Disguise” finds Finn at the top of his game, singing a heartbreaker, exhibiting how his creative range is second to none. In the new album’s liner notes, it is confirmed that Finn handled all aspects of Hyperverse—writing, performing, producing, recording, and mixing—through live streaming on Twitch. He accomplished this with some assistance from friends like producer and Crowdie bandmate Mitchell Froom and former bandmate Eliza-Jane Barnes, who lends her vocals to several tracks here. Be sure to check out their collaboration, Champagne in Seashells, from 2009.

“Con Man,” which was released the day after the 2024 U.S. general election, combines metaphysical elements with fuzz and a hint of political commentary. In an alternate universe, this track may illustrate the current U.S. president and his shortcomings as swindler-in-chief. In a recent interview, Finn described the song as “about losing a best friend. They didn’t die; it’s about cowardice, lies, and betrayal. It’s part therapy, part diss track. Full catharsis.” The song presents an explosion of punk energy, with Finn leading the charge.

The accompanying video is a compilation of nearly 4,000 hand-drawn frames of a live performance co-directed by James Douglas Cooper and Finn. It can be likened to a 21st-century interpretation of “Take On Me” on an extravagant scale, featuring rotoscoping and music to complement it. The sum of this sound and vision perfectly underscores the spirit and stamina of one Liam Finn.

For additional information, visit Finn’s website and Bandcamp page. For a potentially life-altering life experience, see this guy live.