Hozier is back with his highly anticipated album 'Unreal Unearth'
Irish singer-songwriter Hozier, with his long-flowing locks and smooth guitar comes back with his third studio album, Unreal Unearth, and it's a triumphant return. In his first release since the pandemic and four years after his sophomore record, Hozier offers his take on covid-times introspection.
However, unlike most previously released pandemic inspired albums, the Irishman dives deep into a realm of mythology, ancestral roots, and an ever-shifting landscape of musical sound. It is not straight forward but in the best way. Hozier may have written it during the pandemic but this work is not just melancholic lyrics touching on themes of isolation as one may expect.
The opening act of the album comes in the form of “De Selby (Part 1)” and “De Selby (Part 2).” The songs offer a bright reflection on darkness, a foreshadowing juxtaposition for the rest of the album to come. “Part 1” features Hozier’s angelic voice accompanied by simple guitar-plucking and poetic lyrics. Here the Irish singer talks about the ominous and dark feelings of the end of something. He then switches to the Irish language of Gaelic. The Gaelic portion of the song offers a shift towards the light but one that does not remain clear. It is still a love song at its core as the realities of love are often complex.
“Part 2” offers one of the driving and most groovy tracks on the album. The 80’s-era synths bounce alongside Hozier’s lower-tones to further the themes of contradiction. He sings “I wanna move so fast that I outpace the dawn”, another example of the subject of the music chasing the light with all the energy they can. The song pursues the brightness as well, as the synth-heavy groove forces you to nod your head in joyous manor even though the chorus sings of allowing oneself to “fade away”.
The pursuit of the shinier side of love comes through on track three “First Time.” The melody dances as if running alone in a sun-soaked field. Hozier sings “And some part of me came alive / the first time that you called me baby”. Nothing better than the new feelings of being seen and loved by someone new. Hozier’s vocal range also shines on this one as he seamlessly flows from his calm falsetto to lower growl and back to a passionate midrange.
The opening chords of the organ on “Francesca” offer a subtle eclipse shading the light from the previous track. Hozier sings of loss on one of the loudest and most passionate tracks on the album. He sings of reflecting back on the end of a love. He admits despite all the hardships and turmoils of the relationship, he would jump back in to hold on to what was lost. The song reaches its climax with a moving bridge filled with harmonies and driving guitars that raise you to a higher place. Hozier sings “Heaven is not fit to house a love like you and I”. It is a poetic description of the power of what once was and the accompanying drums, guitar and vocals make you feel that power in your bones.
The everlasting juxtapositions continue with the next two tracks. “I, Carrion (Icarian)” is a soft-spoken, beautiful acoustic number. It features Hozier at his most calm and angelic. The tone quickly switches to the upbeat and more radio-friendly beats of “Eat Your Young.” Here, Hozier dives into his mythology inspired lyrics. The song is a reference to the nine circles of Hell from Dante’s Inferno. Hozier admitted the famous classic inspired much of the album’s lyrics. Here the guitar and drums create a fun song that kicks enough to rock your head but does not push you over. Meanwhile, the lyrics offer a darker subtext of a chaotic feast when one may have to resort to the darkest crimes of eating your young to survive.
Famed folk singer Brandi Carlile gets in on the fun on “Damage Gets Done.” The two collaborate for a song that would fit right into a coming of age film when the protagonist falls into the deepest love for their biggest crush only to see it slipping away. It is again inspired by a circle of hell, this time Greed. The two singer-songwriters sing of the balance between being young and reckless and ignoring the consequences that often come after when you grow up.
The back of the album is just as strong as the front side. The soaring outro on “Who We Are” offers another cinematic moment with its crashing drums. It feels similar to the raging end of “Happier Than Ever” by Billie Eilish before it all rushes back to Hozier’s simple vocals accompanied by a beautiful piano. Hozier invites you to get lost amidst the circles of Hell on the beautiful instrumental piece “Son of Nyx.”
“All Things End” finds Hozier back in his jazzy, bluesy tones. It feels familiar to his sound yet still delivers a unique sound to the album as it stands out sonically with its dose of soul when a gospel-like choir comes in at the bridge.
Hozier gets deep into the darkness and themes of mythology and his ancestral Irish roots on “Butchered Tongue.” It is a sobering piece inspired by the violent crimes committed by the British when they colonized Ireland in the late 18th century. Hozier shows his depth in history but wields together a story that still engages through the beautiful strings soaring in the background of the song.
The album ends with a triumvirate of soaring pieces that represent the path back to the light. Hozier sings of dark memories in “Abstract (Pyschopump)” yet the music feels hopeful. The piano melody in the background offers a steady beat that lifts the rest up. The final song “First Light” is the escape from Hell. Hozier spends most of the album using Dante’s Inferno as a way to transport himself to the darkest of times only to find the light at the end. As he said in an interview, even Hell has an escape and his third album gives listeners a memorable escape indeed.
Unreal Unearth is out now.
Cover photo: Julia Jackson