HIDE’s latest album, Hell Is Here is as controversial and intriguing as audiences have come to expect from the Chicago duo. The release permeates with cacophonic tension attacking the world’s misogyny, discrimination, and solitude with reckless abandon. This is certainly not easy listening, but anyone familiar with Heather Gabel and Seth Sher’s work should get exactly what they’re expecting. Furthering the atmospheric industrial leanings the band exhibited on the Castration Anxiety debut, these artists continue their aural assault on a listener’s senses. The orchestration is dark, claustrophobic, disorienting, and outright uncomfortable when paired with Gabel’s cathartic screaming about the dystopian world that surrounds her. The opening track, “Chainsaw” features bile-soaked lyrics concluding with her appropriately vomiting into the microphone, which seems more than fitting considering her palpable outrage. What follows is song after song of blistering rage attacking toxic masculinity and showcasing HIDE’s misanthropic opinion towards the current world. The musicianship and programming prowess continues to improve, while their societal disdain has not been mitigated with Gabel’s raw vocal power. However, this is not to say that the music is not artfully crafted and HIDE is successful in what the band is trying to accomplish with a bleak sound reminiscent of some of the earlier progenitors of the genre – imagine a venomous Lydia Lunch fronting some of cEvin Key’s or Chris Carter’s more experimental work. This is definitely an album that is targeted at the fans and is not for the faint of heart; even more so, it’s highly recommended that you catch the band live in order to witness Gabel’s aggressive and unforgettable performance art, regardless of how oppressive it is.