It is often debated that the mainstream of this age lacks music that tests innovation and is often monotonous; Hozier has done an immense job to blowing this line of thought with his maturing EP Take Me To Church. Although the EP was released in July 2013, the benchmark that was set by his initial creations still remain for other fusion artists and should not go uncredited alone as a four track phenomenon. As a man who described falling in love as “a death of everything”, ‘Hozier’ expresses bleak concepts with a rugged and tasteful vision.
A large fraction of his current popularity can be credited by the Grammy nominated ‘song of the year’, ‘Take Me To Church’, which quickly became viral and expressed his personal frustrations with the Catholic Church and their stance towards homosexuality. Through his hauntingly beautiful lyrics and synthesis of indie rock and bluesy vibes, he manages to deal with controversial ideas with stark passion and resonance and it’s really not a surprise that this particular track has been adopted as a gay anthem by many; which is quite a feat for a track which was originally recorded in his parents attic in the early hours of the morning. While each of the tracks expose themes of controversy, which illuminate Hozier as a man wise beyond his years, there is a quality that can easily be admired about his music. Amongst his humbleness and civility as an artist, his music never appears as a mere fingers up of rebellion at anybody, yet deeply questions the moralistic terms of society, such as the rapture of sex in ‘Angel of Small Death & The Codeine Scene’.
[youtube https://www.youtube.com/watch?v=MYSVMgRr6pw?list=PL8KVn2EQ_jy2DnkLqjKNQYH3FYfl-1T0C]
The EP undoubtedly offers material far from a joyride, including ‘Cherry Wine’ which poses as a domesticated, mellow track which is as lyrically golden as it is sung, handling the raw theme of emotional abuse. Partnered by ‘Like Real People do’, another acoustically based track, which projects a transcendent tone and supports his influences surrounding the Delta blues. Although the tracks are not particularly heavy, they are weighted by partnering ethereal harmonies, to support his temperamental, rugged, old man sounding vocals.
Subsequently following the notable birth of the EP, the full self-titled album ‘Hozier’ was released. As one of the most extroverted and communicative marks in the EP sphere, the progression and direction of Hozier’s work in the future will certainly be interesting to set against his first prodigious steps.
Words by Lydia Ibrahim