The Hummingbird Conspiracy – The Hummingbird Conspiracy (Album Review)

Today’s review features “The Hummingbird Conspiracy” by the band of the same name. The Hummingbird Conspiracy is the project of Jose Roman Duque, better known as JORODU, a Miami-based Venezuelan-born musician and a graduate of Berklee College of Music. JORODU explains the concept behind this new rock album:

“The Hummingbird Conspiracy is an original, deeply human album that wrestles with the tension between confinement and freedom: the prisons we inherit, the ones we construct ourselves, and the strength of the soul to transcend them. Inspired by a long-form narrative of inner conflict and transcendence, The Hummingbird Conspiracy is a sonic journey through the psyche, where rhythm, harmony, and texture become a mirror of courage and curiosity. This record is not just a collection of songs, it’s a cohesive, emotional journey that explores:

What it means to be trapped and what it takes to be free
The intersection of human fragility and strength
Music as a bridge between introspection and connection
The way time reshapes relationships
What we carry with us, and what we leave behind
The tension between movement and stillness

Every note is meant to feel alive — like the flutter of a hummingbird’s wings against the stillness of the self.”

Known for his jazz albums, JORODU decided to make a concept rock album after “a concept of a short story that came to my mind after a very intense Spiritual experience of sorts, after a few deep meditation sessions.” JORODU plays all the instruments on the album – Tenor-Baritone Guitar, Bass, Keyboards, Drums, and Voice – with a few notable exceptions:
-Niko Tsonev-guitar solos on Scavenger & Mirage of Life.
-Kako Guzman-Guitar solos on Deja vù, Hums like wires, comping guitar on Pater Familias.
-Kabeto Sequini-Guitar solo on Vigil in the Night of Nihil.

The album was mixed by Erik Aldrey @ ‌LaGuaridaSoundLab and produced by JORODU & Erik Aldrey. This is JORODU’s eleventh album.

So let’s have a listen …

Chimera. The album starts with tribal drums and an in-your-face guitar riff, with a drum kit taking over when the verse hits. The song is fairly straightforward chord progression-wise. The guitar riff reminds me of the tone of a Dan Auerbach (Black Keys) guitar sound. The song is about emotional beginnings. I’m not sold on the voice, but the vocal production makes up for that. The mix is loose. The tribal drums continue to make appearances throughout the song. The guitar solo could use some work. I like how the song ends with “just shut up!”

Scavenger. Starts with a lonely piano interplay over an industrial soundscape. The guitar accompanies the voice, and eventually, drums are added ever so gently. Then the full band comes roaring in. I do like the lyrics in these songs. The song drops out to a radio announcer – “want to get famous, how many followers do you have on your account, ah but you may need to sign here to get millions of followers, sorry but you don’t have enough streams to get signed by our label.” The band comes back in, briefly, then more of the radio announcer, briefly. This is a long song at 7.5 minutes. “Scavengers of streams.” I like how the song drops out to an acoustic guitar near the end, then the full band with backing vocals comes in to finish off the song. Niko Tsonev takes the lead guitar solo at the end.

Hums like wires. Starts with cymbals and an acoustic guitar. I really do appreciate the lyrics on this album, the songs’ messages are very deftly conveyed. Eventually, the full band comes in with the acoustic guitar leading the way. A very tasty lead guitar solo by Kako Guzman.

Deja Vu. Starts with an arpeggiated acoustic guitar. The full band enters with electric guitar, drums, and bass. Some very nice choppy rhythm guitar sounds. Kako Guzman, on the electric guitar, takes the solo duties here with a bit of reverb and heavy tremolo. The song structures are not particularly complex, but all of the songs are produced well. Trippy electronic keyboard sounds enter the mix just before Kako takes off again. The song comes back to the chorus. I like the electric guitar on this song.

Something’s ending. Starts with another industrial soundscape and bells. A lonely acoustic guitar. JORODU comes in strong on vocals. Then the full band enters – bass, drums, guitars. What sounds like a key change for the chorus. The lyrics again take center stage in these songs. A very dirty and despondent electric lead guitar cries.

Vigil in the night of Nihil. Starts with a bass riff and a light drumming pattern. Eventually, a keyboard vamp comes in with the full band. Then, all of a sudden, the band takes a faster pace. Strings are added in the middle section of the song. Kabeto Sequini takes the electric lead guitar duties on this song. Very nice phrasing and control. The strings and bass create a very syncopated rhythm. More lead guitar, this time with a soaring melody. The song falls back into the sparser verse. The key-change chorus comes back in with the full band, complete with all the instrumentation. The bridge is similar to the verse in its composition. I like the syncopated drum rhythms throughout this song, very compelling. The song drops out again, and JORODU comes in vocally against a slow, heavily effected electric guitar to end the song.

Pater Familias. Starts off with a monk’s chant. Kako Guzman contributes comping rhythm guitar. The vocalist comes in over a keyboard bed and a very nicely-played acoustic guitar. The lyrics drive this slow song. “I’ll chase your ghost through fading lies.” The chorus features the full band. I like the heavy industrial soundscape that creates the music bed for this song, complete with sounds of police or ambulance sirens. The song ends over the heavy industrial soundscape, the patter of drum fills, and water.

Mirage of life. The final song on the album kicks off with a very tasty bass riff and a comping electric rhythm guitar. Full band, but much funkier than the other songs on the album. Killer rhythm guitar tones and chops enter in the chorus, then back out for the second verse, making way for the comping rhythm guitar. “Life is a mirror that reflects what you need to see.” The chorus with heavy rhythm guitar comes back. Killer guitar solo. Dirty, messy, everything I love about guitar, particularly when the heavy chorus riff comes back in underneath. Thanks, Niko Tsonev! I love how they interplay with the distorted lead guitar and a radio announcer type bit that comes near the end. The lyrics keep your interest through all these songs.

If all of these songs had the tone, construction, and sound of the last song – Mirage of life – then I would rate this album as excellent, but alas, they do not. All of the songs are interesting, particularly lyrically, and while the production is pretty good, I feel like the songs lack standout moments, musically, in most cases. I think the music could be more interesting, although I do appreciate the use of radio announcements and industrial soundscapes throughout the pieces. The real question is would I listen to this album again, and my answer is probably not. I am not a fan of the vocals. I do appreciate the lyrics and concepts behind the songs, though.

SCORE/Good: The Hummingbird Conspiracy’s new self-titled debut album has many interesting pieces and some nice performances. The lyrics and concepts behind the songs are the stars of the album. Very well produced, this album falls just short of the mark of being a great album. Much love, Beth

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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