Album: Hozier - Unreal, Unearth

The Irish indie-folk mainstay latest is soulful and introspective, yet bold and captivating.

share this article

The Irish indie-folk mainstay latest is soulful and introspective, yet bold and captivating.

Only a few artists can be said to have exploded on to the scene like Hozier. The solo, Irish musician – full name Andrew John Hozier-Byrne – shot to stardom with the omnipresent hit “Take Me To Church” back in 2014. Although his work since hasn’t taken over the pop culture zeitgeist in the same way, he has nonetheless gone on to be very successful.

Unafraid to tackle weighty, thoughtful themes, such as LGBT rights, religion, or economic strife, married to his powerful vocals and heavy folk influences, Hozier has marked himself out as a poignant artist. He returns with his latest album and third overall, Unreal, Unearth, his first full length since 2019’s Wasteland, Baby!.

His characteristic folk moodiness is still present – opening track “De Selby, Part 1” flitters to life with strumming acoustic chords and soft vocals – but there are large flashes of different tones and styles, bringing in a revolving array of textures. “Son of Nyx” is a cinematic pause at the midpoint, bringing grandiose, orchestral strings that swell and soothe. Meanwhile, “De Selby, Part 2”, one the pre-release singles, swaggers with a bar room blues.

In part, this versatility is the result of Hozier working with a number of producers including Bekon (Kendrick Lemar, Drake), Jennifer Decilveo (Miley Cyrus, Bat For Lashes) and Jeff Gitelman (The Weeknd, H.E.R). Altogether, they have produced an album that eludes the grasp of firm genre boundaries. Unreal, Unearth is soulful and introspective, yet just as bold and captivating. A touch overlong, maybe, but it holds attention confidently.

Soaring to fame and popularity with such an enormous hit like “Take Me To Church” would be limiting for some – cumbersome and constricting like a straight jacket. Here, sometimes Hozier evokes his most known song, but he does more than show he’s moved beyond that sound. By the time closing “First Light” begins with its interplaying vocals, it’s long understood this is an offering full of imagination, yet purposeful and clear. A talented artist honing his craft, embracing creativity; it rewards each listen and is worth every second spent listening to it.

Add comment

The content of this field is kept private and will not be shown publicly.
Name that you would like to appear as the author of the comment
A talented artist honing his craft, embracing creativity; it rewards each listen and is worth every second spent listening to it

rating

4

explore topics

share this article

Help secure the future of arts journalism

In this era of algorithmic recommendation, opaquely sponsored content and AI slop, theartsdesk’s mission to preserve real journalistic and critical values has never been more important.

If you like what you see here, please join us 
in this mission.

Subscribing to the site will help us in our coming 
redesign and expansion.


If you do this before the 31st August this will be at our guaranteed founder’s rate: 
your subs will never increase again.

Subscribe now for £5 per month. 
or yearly for just £40.

Or if you simply want to support us with a one-off donation, you can do so here.

more new music

Surrealism, social observation and more muscular sound from the Leeds quartet
A powerful personal outpouring of joy and pain - with a great beat
The London quartet have taken to playing large venues with ease, as this career-spanning set showed
The Philadelphia punk rockers continue to impress
A partial account of how Brit-punk absorbed an aspect of reggae
The Fez Festival Of World Sacred Music and the Fes Gathering bring the world together
Bristol band aren't happy but offer up the occasional sing-along
A new album is unveiled and old tunes are played for the last time
Decades of psychedelia and wonder packed into a puzzling construction