REVIEW: Hammok - When Does This Place Become Our Scene

Even in the bleakest scenarios, beautiful things can blossom - and it’s hard to imagine a bleaker circumstance than beginning your adulthood by being forced into isolation, whilst a deadly virus tears through the population. It’s even harder to imagine how a newly-formed band might survive such an occasion, but Norwegian noise-punk band HAMMOK did more than survive. They flourished.

Originally formed by long-time friends Tobias Osland (guitar and vocals) and Ferdinand Aasheim (drums) in their early twenties, the trio was completed with the addition of Ole Benjamin (bass). Deciding to live together shortly before the Covid-19 pandemic began, they found themselves in a unique scenario where the only feedback they had when beginning their musical experimentation was from each other. There were no concerts, and so there was no incentive to create something purely for an audience frothing at the mouth for something to throw their bodies around to. Instead, they focused on producing a sound and a feeling unique to them.

Now, six years later, HAMMOK have released their best work to date. Their second full length album When Does This Place Become Our Scene is a relentless burst of energy, as chaotic as something can be without having a single element feel out of place. Produced by Osland, it’s an album with teeth and a heart, delivering both a shock to the system and a welcoming hug. It feels like being picked up from the floor at a hardcore show; a firm, anchoring grip in a frantic environment, whilst knowing you’re seconds away from another stray fist to the face.

And this album features a lot of fists. A highlight is the fifth track BANG, which opens with dense, chugging guitars fit for a MESHUGGAH album. The harsh vocals are abrasive and overlapping, running into each other and over each other until they culminate into a guttural scream that also serves as the chorus. The bassline drives everything forward, into duelling guitars that serve as a call and response to one another. It’s dark, brooding and expertly layered.

Just two songs later, it feels like HAMMOK are pulling from entirely different influences, whilst still feeling cohesive with the rest of the sound. Tap Water is built on a foundation of indie guitars that wouldn’t have felt out of place on an ARCTIC MONKEYS album 20 years ago. It’s one of the only tracks to feature clean vocals, delivering a message of existentialism and dissociation. “How can I set myself on fire, when nothing is painful any more” is screamed over an explosive chorus, capturing a temporary outburst in an otherwise measured and steady-paced track.

Blast Off (Blast Off) Blast Off explores yet another genre, with synth-like staccato guitars and distorted vocals reminiscent of early ENTER SHIKARI, whilst somehow managing to feel even more dance-y. At points like this, it’s hard to imagine that there was a time when HAMMOK were unable to play live shows. It feels almost criminal to keep their energy away from the stage. The only notable dip in the album comes on the eighth track CND, which sees a repetitive guitar line peppered over the track that borders on irritating. This is the only real negative though. The rest of the track is explosive, featuring an impeccable second post-chorus initiated by a violent scream and a breakbeat that will have you scrambling for the closest speaker to blow.

When Does This Place Become Our Scene is an album so thoughtfully crafted that each new run through exposes more brilliance. Just when you think you’ve picked a favourite track, a new detail will highlight a song you previously overlooked. For fans of catharsis and loud music on the car ride home from the hardcore show, REFUSED and THE FALL OF TROY, attention to detail and car crash footage – this album is for you.

Score: 9/10

When Does This Place Become Our Scene will be released on 5th June 2026 via Sargent House Records.

Words: Ellen Lovell

Photos: Fabian Fjekdvik