Hem's new album
Oct. 14th, 2006 05:19 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
icepixieI got Hem's new album, Funnel Cloud, from iTunes today. (I can't BELIEVE I forgot that it came out last month! Six whole weeks I could've had this!)
It is gorgeous. They are my most favorite band ever, and they haven't let me down this time. While they have been categorized as "alt-country," their sort of "country" isn't cowboy hats and dogs in the back of pickup trucks. (Leave that down on Broadway and Second Avenue, if you please.) It's girls in cotton bonnets picking apples, or an old couple holding hands as they walk down a dirt lane towards their farm. To be honest, in a lot of ways, it's like a well-edited movie soundtrack. Or alternately, it's a well-rehearsed ballet; whatever they are, they are graceful above all.
One of the things I really like about this album is that lyrically, most of the songs seem to take place in the same world. There are several callbacks to other songs in the lyrics. "Curtains" has a line about "the flames of the hotel," and it comes almost directly after "Hotel Fire." In "He Came to Meet Me," the narrator speaks of how the man she met one morning in July could "break my world in two"; meanwhile, in "We'll Meet Along the Way," another narrator (or the same one?) claims that "Later on the road is gonna break your world in two." "Not California" and "Reservoir" seem like they come from a similar perspective, with a love for being home (which, by the way, isn't in California ;)).
Their lyrics in general are and always have been amazing. I think my favorite thing about this band is that they don't skimp on either the words or the music. So many songs seem to have these great melodies or instrumentals, but the lyrics don't make any sense. And certain singer-songwriter types who write these knockout lyrics don't pair them with equally amazing music, or have a voice that's just grating to listen to. These people, they've got it all. And the extensive orchestration warms my little fussiness and intricacy-loving heart. If you could turn Victorian fabric or hats or architecture into music, it would sound like this. They have a glockenspiel, okay? And apparently a 21-piece orchestra backing them. It's fabulous.
Sally Ellyson's voice seems to have matured on this release. This is both a good and bad thing; it's stronger and more confident on songs that require it, like "Not California" and "Too Late to Turn Back Now," but I also liked the incredibly delicate way she handled other songs in the past. That's still there now, but it's not as noticeable; I think it could've been put to use on "Curtains," in particular. But overall I think it's more "different" than "bad" or "good."
I think, overall, it's a more even offering than their earlier two albums; the quality is almost uniformly excellent, with one exception (see below), but at the same time, unlike Eveningland, there are only about three standouts this time around. They're great, but not quite as attention-grabbing as "Pacific Street" or "Redwing" from that album, you know? Still, this is fantastic, and there is only the one clunker, as opposed to two or three clunky ones. I'm sure in the coming weeks I'll listen to this whole album until my ears bleed. *g*
Downloads:
Reservoir (Live)
Live show recordings
Two-minute samples of every song; the site also has an excellent accompanying article
And of course, you can get the whole thing at iTunes. 'Cause iTunes is awesome.
Song by song, because I can (some of these are just associations the song brought to mind while I was listening which I wanted to write down for myself):
We'll Meet Along The Way - Slow and melancholy, nostalgic and reflective. A good indication of things to come.
He Came To Meet Me - Oh God, this song is wonderful. It's in a tight race with "Great Houses of New York" for my favorite. It's kind of jaunty, and I love how the tempo picks up throughout the whole thing. It's a love song with a happy ending, which, to be honest, is comparatively rare in most of the music I listen to. ;) It also feels like it's set in about 1815; it's like it's about a girl in one of those Jane Austen miniseries empire-waist muslin dresses and an officer in the British navy walking down country lanes and swinging on fenceposts.
Not California - This is the single they released a while ago; I've had it for a couple months. It's much peppier than usual for them, but it works, particularly as the lyrics, well, aren't really peppy. I love that it's actually about The O.C., and the fake California put on by shows of that nature, and how one can get sucked into the TV to the detriment of one's real life. (Er, not that I resemble that remark or anything.)
Funnel Cloud - Slow and dreamy and beautiful, and it happens to be about a tornado. Heh.
Too Late To Turn Back Now - It's almost too countrified for my tastes, but I love the fiddles in the background, so I give it a pass. ;)
The Pills Stopped Working - The only clunker. It's a bit too honky-tonk-style country for my tastes, and on top of that, they don't commit to it; it's sort of a folk interpretation of a line dance song--a little too pretty--and it doesn't really work out in either direction.
Hotel Fire - Now, here is a breakup song. The metaphor is perhaps a bit heavily explained at the beginning, but it's an interesting one nonetheless and music is beautiful. This kind of energy is what I think "The Pills Stopped Working" was going for, but it works here because most of the song is quite restrained in comparison to a few lines in the chorus, so the whole things sounds more intense. This is one I'd heard a live version of before, and, like "Reservoir" (see below), this one does suffer the tiniest bit in comparison; the live version has a little more of an edge that this one lacks, and which serves the song well. But it's still wonderful.
Great Houses Of New York - Oh, oh, oh. This may be my favorite. I think it is. The melody is a bit like a lullaby, but not exactly. The piano in the background is gorgeous, and Sally's voice is like a music box mixed with silk. I love the idea of people as houses, and houses falling into a genteel shabbiness, but still remembering when they were great, so many years ago.
Curtains - I have to admit, I don't really know what this song is about, except that it concerns regret. But I like songs like that (especially when they're this pretty), 'cause then you can make up your own story to go along with it.
Old Adam - There's nothing about this one that jumps out at me, but it's in keeping with the tone of most of the rest of the album, and is a very nice song as well.
The Burnt-Over District - The only instrumental on the album, and oooooh, pretty. It's not as orchestral as "Eveningland," but it's a bit more intimate. The title refers to the area of western New York State which hosted many of the religious revivals in the earliest part of the nineteenth century. I'm not sure that that would have been the first thought that came to my mind when I heard it, but it's an interesting title and association nonetheless. The music is reminiscent of Civil War-era tunes, which is a few decades later, yes, but anyway. A lot of their music sounds like it comes from a bygone era, really; this one just brings that out more.
Reservoir - On the live version I have, Sally's voice is a little rougher, less processed, and more intense, which I think makes the song better. But this version is exceptionally nice too, and you can hear the words better, which is good. I love all the geographical imagery in this song.
I'll Dream Of You Tonight - Reminds me of "Beautiful Sea" from Eveningland, but folkier.
Almost Home - Very sweet. Written for the songwriter's daughter, and it shows. :) Musically, it's also kind of jazzy, and reminiscent of Irving Berlin and Bing Crosby.
In a Barrel at Sea (Bonus Track) - I love the simplicity of this little lullaby-like love song. The lyrics aren't at the page I linked to, so I'll post them here:
Lost in the hold
And torn from the chain
Out in the road in the pouring rain
And I'm rolling down on the great Ohio
And lighting out in a barrel at sea
Let the storms keep rising wherever I go
As long as you're here with me
And we're rolling down on the great Ohio
And lighting out in a barrel at sea
Let the storms keep rising wherever I go
As long as you're here with me
As long as you're here with me
Isn't it gorgeous? And the arrangement is so light and delicate; it feels a bit like a barrel bobbing down a river.
Dude, I never write this much about music. And I know nothing about writing album reviews or anything like that, so this probably sounds funny to anyone who regularly reads them. However, I don't care. I want my gushing to inspire people to like this band. GO CHECK THESE PEOPLE OUT.
It is gorgeous. They are my most favorite band ever, and they haven't let me down this time. While they have been categorized as "alt-country," their sort of "country" isn't cowboy hats and dogs in the back of pickup trucks. (Leave that down on Broadway and Second Avenue, if you please.) It's girls in cotton bonnets picking apples, or an old couple holding hands as they walk down a dirt lane towards their farm. To be honest, in a lot of ways, it's like a well-edited movie soundtrack. Or alternately, it's a well-rehearsed ballet; whatever they are, they are graceful above all.
One of the things I really like about this album is that lyrically, most of the songs seem to take place in the same world. There are several callbacks to other songs in the lyrics. "Curtains" has a line about "the flames of the hotel," and it comes almost directly after "Hotel Fire." In "He Came to Meet Me," the narrator speaks of how the man she met one morning in July could "break my world in two"; meanwhile, in "We'll Meet Along the Way," another narrator (or the same one?) claims that "Later on the road is gonna break your world in two." "Not California" and "Reservoir" seem like they come from a similar perspective, with a love for being home (which, by the way, isn't in California ;)).
Their lyrics in general are and always have been amazing. I think my favorite thing about this band is that they don't skimp on either the words or the music. So many songs seem to have these great melodies or instrumentals, but the lyrics don't make any sense. And certain singer-songwriter types who write these knockout lyrics don't pair them with equally amazing music, or have a voice that's just grating to listen to. These people, they've got it all. And the extensive orchestration warms my little fussiness and intricacy-loving heart. If you could turn Victorian fabric or hats or architecture into music, it would sound like this. They have a glockenspiel, okay? And apparently a 21-piece orchestra backing them. It's fabulous.
Sally Ellyson's voice seems to have matured on this release. This is both a good and bad thing; it's stronger and more confident on songs that require it, like "Not California" and "Too Late to Turn Back Now," but I also liked the incredibly delicate way she handled other songs in the past. That's still there now, but it's not as noticeable; I think it could've been put to use on "Curtains," in particular. But overall I think it's more "different" than "bad" or "good."
I think, overall, it's a more even offering than their earlier two albums; the quality is almost uniformly excellent, with one exception (see below), but at the same time, unlike Eveningland, there are only about three standouts this time around. They're great, but not quite as attention-grabbing as "Pacific Street" or "Redwing" from that album, you know? Still, this is fantastic, and there is only the one clunker, as opposed to two or three clunky ones. I'm sure in the coming weeks I'll listen to this whole album until my ears bleed. *g*
Downloads:
Reservoir (Live)
Live show recordings
Two-minute samples of every song; the site also has an excellent accompanying article
And of course, you can get the whole thing at iTunes. 'Cause iTunes is awesome.
Song by song, because I can (some of these are just associations the song brought to mind while I was listening which I wanted to write down for myself):
We'll Meet Along The Way - Slow and melancholy, nostalgic and reflective. A good indication of things to come.
He Came To Meet Me - Oh God, this song is wonderful. It's in a tight race with "Great Houses of New York" for my favorite. It's kind of jaunty, and I love how the tempo picks up throughout the whole thing. It's a love song with a happy ending, which, to be honest, is comparatively rare in most of the music I listen to. ;) It also feels like it's set in about 1815; it's like it's about a girl in one of those Jane Austen miniseries empire-waist muslin dresses and an officer in the British navy walking down country lanes and swinging on fenceposts.
Not California - This is the single they released a while ago; I've had it for a couple months. It's much peppier than usual for them, but it works, particularly as the lyrics, well, aren't really peppy. I love that it's actually about The O.C., and the fake California put on by shows of that nature, and how one can get sucked into the TV to the detriment of one's real life. (Er, not that I resemble that remark or anything.)
Funnel Cloud - Slow and dreamy and beautiful, and it happens to be about a tornado. Heh.
Too Late To Turn Back Now - It's almost too countrified for my tastes, but I love the fiddles in the background, so I give it a pass. ;)
The Pills Stopped Working - The only clunker. It's a bit too honky-tonk-style country for my tastes, and on top of that, they don't commit to it; it's sort of a folk interpretation of a line dance song--a little too pretty--and it doesn't really work out in either direction.
Hotel Fire - Now, here is a breakup song. The metaphor is perhaps a bit heavily explained at the beginning, but it's an interesting one nonetheless and music is beautiful. This kind of energy is what I think "The Pills Stopped Working" was going for, but it works here because most of the song is quite restrained in comparison to a few lines in the chorus, so the whole things sounds more intense. This is one I'd heard a live version of before, and, like "Reservoir" (see below), this one does suffer the tiniest bit in comparison; the live version has a little more of an edge that this one lacks, and which serves the song well. But it's still wonderful.
Great Houses Of New York - Oh, oh, oh. This may be my favorite. I think it is. The melody is a bit like a lullaby, but not exactly. The piano in the background is gorgeous, and Sally's voice is like a music box mixed with silk. I love the idea of people as houses, and houses falling into a genteel shabbiness, but still remembering when they were great, so many years ago.
Curtains - I have to admit, I don't really know what this song is about, except that it concerns regret. But I like songs like that (especially when they're this pretty), 'cause then you can make up your own story to go along with it.
Old Adam - There's nothing about this one that jumps out at me, but it's in keeping with the tone of most of the rest of the album, and is a very nice song as well.
The Burnt-Over District - The only instrumental on the album, and oooooh, pretty. It's not as orchestral as "Eveningland," but it's a bit more intimate. The title refers to the area of western New York State which hosted many of the religious revivals in the earliest part of the nineteenth century. I'm not sure that that would have been the first thought that came to my mind when I heard it, but it's an interesting title and association nonetheless. The music is reminiscent of Civil War-era tunes, which is a few decades later, yes, but anyway. A lot of their music sounds like it comes from a bygone era, really; this one just brings that out more.
Reservoir - On the live version I have, Sally's voice is a little rougher, less processed, and more intense, which I think makes the song better. But this version is exceptionally nice too, and you can hear the words better, which is good. I love all the geographical imagery in this song.
I'll Dream Of You Tonight - Reminds me of "Beautiful Sea" from Eveningland, but folkier.
Almost Home - Very sweet. Written for the songwriter's daughter, and it shows. :) Musically, it's also kind of jazzy, and reminiscent of Irving Berlin and Bing Crosby.
In a Barrel at Sea (Bonus Track) - I love the simplicity of this little lullaby-like love song. The lyrics aren't at the page I linked to, so I'll post them here:
Lost in the hold
And torn from the chain
Out in the road in the pouring rain
And I'm rolling down on the great Ohio
And lighting out in a barrel at sea
Let the storms keep rising wherever I go
As long as you're here with me
And we're rolling down on the great Ohio
And lighting out in a barrel at sea
Let the storms keep rising wherever I go
As long as you're here with me
As long as you're here with me
Isn't it gorgeous? And the arrangement is so light and delicate; it feels a bit like a barrel bobbing down a river.
Dude, I never write this much about music. And I know nothing about writing album reviews or anything like that, so this probably sounds funny to anyone who regularly reads them. However, I don't care. I want my gushing to inspire people to like this band. GO CHECK THESE PEOPLE OUT.
