Album Review: Hands by Bumblefoot (1998)
Bumblefoot’s Hands is a wild ride through the raw, untamed edges of Alternative Rock. Released in 1998 under Hermit Inc. and M7R Production, this album feels like a gritty love letter to the late '90s underground rock scene. With its roots dug deep in the US and France, Hands blends Pop/Rock sensibilities with a rebellious streak that keeps you guessing. It’s not your polished, radio-friendly record—it’s something far more interesting.
The tracklist reads like a chaotic mixtape from another dimension, but two songs stand out for me. First up, “Trainwreck.” This song grabs you by the collar and doesn’t let go. Its jagged riffs and off-kilter energy feel like watching a car crash in slow motion—horrifying yet impossible to look away. There’s something about how it builds tension without ever fully resolving; it leaves you hanging, just like real life often does. And then there’s “[Hidden Track],” which sneaks up on you when you least expect it. It’s short, punchy, and oddly haunting—a little sonic curveball that reminds you why Bumblefoot’s creativity can’t be boxed in.
Other tracks like “Dirty Pant’loons” and “Swatting Flies” showcase Bumblefoot’s knack for blending humor and grit into his music. Sure, some moments are rough around the edges, but that’s part of what makes Hands so damn memorable. The production might not be flawless, but who cares? This is an album that wears its heart—and maybe its lunch—on its sleeve.
What stays with me after listening is how unapologetically human this record feels. In a world obsessed with perfection, Hands dares to be messy, weird, and unpredictable. Honestly, I think everyone needs a bit more of that chaos in their lives.
Fun fact: If you listen closely to “Brooklyn Steakhouse,” you might catch yourself wondering if Bumblefoot was channeling both Nirvana and Frank Zappa at the same time. Maybe he pulled it off. Or maybe he didn’t care either way. Either possibility seems kinda perfect.
