In the four years since his last album as Hozier, Andrew Hozier-Byrne has become a sort of mythical being. With his deeply poetic folk-infused indie rock and undeniable charm, some see him as the bard of our times — he sometimes seems to appear from thin air at pubs, subways and parades with an acoustic guitar in hand. Hozier makes music for people who long to escape to a quieter part of the world, or a different world completely.
Unreal Unearth is a journey. It opens with a certain intimacy on "De Selby (Part 1)" — so quiet that the shifting of Hozier's guitar is audible. His signature intricate picking is heard throughout the record, but here it perfectly compliments the contemplative nature of the lyrics. "No closer could I be to God / Or why he would do what he's done," he sings, before angelic layered vocals lead the way through the circles of the underworld.
The music smoothly fades — or falls, thematically speaking — into "De Selby (Part 2)," driven by a thick, lumbering bassline as Hozier turns toward the darkness. Inspired by Dante's Divine Comedy, Unreal Unearth is crafted loosely after the nine circles of hell, painting the portrait of a dance between love, life and death and all of the transformation that comes along the journey between these states. It's a guided tour through gluttony, lust, treachery and somewhere beyond. Although Unreal Unearth isn't quite a true concept album, it's hard to ignore the careful placement of these themes in Hozier's lyrics and music.
Even without prior knowledge of the album's roots in classic literature, it feels part of a greater mythology, especially on tracks like "Francesca" and "Unknown / Nth." Hozier sings like someone stricken with passion, who will do whatever it takes to keep what is sacred to him. The fragile desperation on the bridge of "Unknown / Nth" is one of the most devastating moments on the record thanks to his impeccable control. The sense of betrayal is palpable, but in the end, the loss of love is accepted for what it is.
A decade after "Take Me to Church," Unreal Unearth's muscular production and defined vision proves Hozier's maturity as an artist, complete with his usual employment of religious imagery. He doesn't shy away from the darkest parts of the human condition, but he isn't afraid of having a little existential fun either — even when singing about metaphorical cannibalism, there's some joy to be found in the spritely synthesizer and string arrangements sprinkled throughout.
Finale "First Light" sounds as if the heavens have opened up to have the final word. It's a symphony of drums, strings and belting vocals that reconciles with all of the death and change Hozier sings about in the previous tracks – a blissful moment of acceptance. This is the kind of music that people can escape into; the soundtrack to feelings not even Heaven can hold.
(Rubyworks), (Columbia)Unreal Unearth is a journey. It opens with a certain intimacy on "De Selby (Part 1)" — so quiet that the shifting of Hozier's guitar is audible. His signature intricate picking is heard throughout the record, but here it perfectly compliments the contemplative nature of the lyrics. "No closer could I be to God / Or why he would do what he's done," he sings, before angelic layered vocals lead the way through the circles of the underworld.
The music smoothly fades — or falls, thematically speaking — into "De Selby (Part 2)," driven by a thick, lumbering bassline as Hozier turns toward the darkness. Inspired by Dante's Divine Comedy, Unreal Unearth is crafted loosely after the nine circles of hell, painting the portrait of a dance between love, life and death and all of the transformation that comes along the journey between these states. It's a guided tour through gluttony, lust, treachery and somewhere beyond. Although Unreal Unearth isn't quite a true concept album, it's hard to ignore the careful placement of these themes in Hozier's lyrics and music.
Even without prior knowledge of the album's roots in classic literature, it feels part of a greater mythology, especially on tracks like "Francesca" and "Unknown / Nth." Hozier sings like someone stricken with passion, who will do whatever it takes to keep what is sacred to him. The fragile desperation on the bridge of "Unknown / Nth" is one of the most devastating moments on the record thanks to his impeccable control. The sense of betrayal is palpable, but in the end, the loss of love is accepted for what it is.
A decade after "Take Me to Church," Unreal Unearth's muscular production and defined vision proves Hozier's maturity as an artist, complete with his usual employment of religious imagery. He doesn't shy away from the darkest parts of the human condition, but he isn't afraid of having a little existential fun either — even when singing about metaphorical cannibalism, there's some joy to be found in the spritely synthesizer and string arrangements sprinkled throughout.
Finale "First Light" sounds as if the heavens have opened up to have the final word. It's a symphony of drums, strings and belting vocals that reconciles with all of the death and change Hozier sings about in the previous tracks – a blissful moment of acceptance. This is the kind of music that people can escape into; the soundtrack to feelings not even Heaven can hold.