Coming off the success of his 2023 release “Unreal, Unearth”, Hozier’s expertly crafted EP “Unheard” is the continuation of the “un-” project. Thematically, both albums exchange verses with Dante’s “Inferno”, with each circle of hell being expanded upon through Hozier’s ability to tell stories. “Unheard” is a compilation of songs that Hozier explained to have almost made the album, in an Instagram reel on his page.
Hozier has seen a highlighted presence in the years following the COVID-19 lockdown. While presenting a folk sound in much of his previous releases, alternative, rock, and pop, have also been featured in his previous work. He has maintained a presence in the mainstream and alternative scene since his 2015 debut single “Take Me to Church” which reached the Number 2 spot on Billboard’s Top 100. His unique voice and style have drawn listeners in, but his lyrical prowess allows for his work to truly shine. Known for his religious allusions and romantic approach to simile and metaphor, it is no wonder his popularity has skyrocketed in recent years. The topic of self-exploration has become public discourse with religious deconstruction and fashion trends skating the line of blasphemy in some of the demographics listening to Hozier’s music. Decorations of faith worn in defiance as opposed to genuine devotion are frequently seen in popular culture, yet Hozier’s allusions to religion are refreshing and poignant to his art. Hozier’s EP release following the release of his 2023 album “Unreal, Unearth” although unexpected, had been highly anticipated in the small frame of time since the announcement was made.
A clip of the leading song off the EP, “Too Sweet” immediately became popular on TikTok with many creators analyzing the chorus, “I take my whiskey neat / My coffee black and my bed at three / You’re too sweet for me.” Hozier’s notorious falsetto and belt sweep over an organ-like chorus, rhythmic drum beat and electric guitar reminding the listener that this is, sonically, Hozier. One of the highlights of this song is the use of what sounds like church bells to accent his vocals in direct contrast to the lyrical nature of the song of being too sober, somber, and bitter for another person, a perfect reflection of the intended circle of gluttony.
The second song “Wildflower and Barley” is a duet between Hozier and Allison Russel detailing the limbo between death and the entrance to the circles of hell. Birdsong introduces the listener to a peaceful scene of “springtime in the country” and “springtime in the city” in the intro to the song. The pair paints a picture of a delicate scene of florals and being in the dirt with the repetitive imagery of “This year, I swear I will be buried in actions / This year, I swear I will be buried in words / The diggers are digging the earth / Some close to the surface, some close to the casket / I feel as useful as dirt, put my body to work,” in the chorus. It is a song of joy, featuring melodic harmonies over soft drums, bass guitar, and acoustic guitar. The album “Unreal, Unearth”’s name comes from an iteration of the last line of the chorus where “I feel useful as dirt,” is continued with “unreal, unearth,” as the response.
The third song “Empire Now” is a complete departure from “Wildflower and Barley”, it is rooted in slide guitar and heavy bass. It feels gritty, whilst maintaining that authentic airy Hozier sound, an unexpected, but welcomed venture. It resembles the bass dependency in “Arsonists Lullaby” from his 2014 project “From Eden” EP yet feels more polished and also completely different from anything Hozier has produced until now. It has gut-wrenching imagery such as “The future’s so bright it’s burning,” and the humanity entrapped with “the martyrs of our revolution.” It feels violent, mechanical and dystopian in its heavy percussion dependent on reverb, yet expertly crafted. The strings in the song sound almost as though they are pained cries, a perfect investigation into the circle of violence.
Closing out this EP is “Fare Well”, which the title implies a double meaning of goodbye and well-being. It is a song about feeling, as opposed to numbing and being okay with whatever type of feeling, with lyrics like “Let the sun only shine on me through a falling sky / I’ll be alright,” in Hozier’s exploration of Ascent from hell. It centers itself around Hozier’s voice, an acoustic guitar, strings, and human percussion. While these instruments are certainly not foreign to Hozier’s work, they sound as though they are improvised and spontaneous as most scenarios with hands clapping may be. The familiar absence of instrumentals and a chanting post-chorus are rooted throughout “Unreal, Unearth,” yet this track allows the guitar to keep the momentum with light strumming, a different venture than previous work. The song feels like a song that you might hear around a campfire, almost as a joyful noise.
This EP feels like it has been hodged-podged together, but in the most Etsy-like gift that could have been produced. While “Too Sweet” immediately grabbed my attention with its rock sound, “Wildflower and Barley” felt like a Monet painting in its whimsical imagery. “Empire Now” grounded me with its painful reflection of dystopia. “Fare Well” dressed the wounds with a hopeful tomorrow.
