Take the famous quote ‘You don’t find love, it finds you’,
alter the object to good music and the new album from Hannah Miller will cross
your path. This release popped up from left field to my attention, displays all
the credentials of that side of the music fence and will totally transfix those
who fall victim to its predatory instinct. Losing yourself in the hypnotic
indulgence of the record for forty minutes is no bad place to disappear for a
few moments and we can all do with a little ‘me time' in this hectic world.
This album rarely changes gear, but enticingly finds that
perfect groove to idle away those lazy summer evenings or seek warmer solace in
colder times. Wrapped up in a raw package, the haunting vocals of Hannah match
the astutely balanced musical background with a stunning equalising effect. It
was of little surprise to learn that her life has revolved around the southern
states of Alabama, South Carolina and Tennessee as that gothic tendency that
you associate with some aspects of the area’s musical heritage runs deep
through the record.
The pivotal track on the album is ‘Promise Land’ and two versions of the song appear amongst the
eleven offerings as a result of the piece being used in a documentary on the anniversary
of the Chernobyl nuclear disaster. The alternative version to that which went
viral on You Tube features Jason Eskridge on background vocals and possesses a
stunning mix of spine tingling electric guitar and organ. While being a focal
point and an introductory lead into the music of Hannah, any suggestions of a stand-out
number should be shelved as this is a record epitomised by the entity concept.
Devouring the lyrics and surmising their meanings is one of
the joys of listening to this record which joins several other releases in
Hannah’s back catalogue. The album was recorded in her now hometown of
Nashville and the Music City analogy is stretched to include the sound of
Hannah which is at the crossroads point where folk meets Americana and indie.
Hannah has worked closely with Mitch Dane on the making of this record with the
pair undertaking co-writing duties on three tracks leaving the rest the sole
domain of Hannah’s imagination. Lyrically the album peaks on the song ‘Leaving’ with the line ‘momma keeps a
hand gun in her dresser drawer. Last night I took it out and I knelt down on
her bedroom floor’ which closes a dark view of family disharmony.
The record opens with the mystique sounding track ‘Help Me Out’ which eases into the second
song ‘Fighting’ with its hidden soul.
‘You Don’t Call’ tackles the eternal
subject of loss and regret, while ‘Soothed’
if anything takes the delightfully sombre mood even deeper. On a record far
from devoid of clever and absorbing hooks, the organ laced ‘Been Around’ offers the best example of chorus delight and is
closely followed by the enticing tones of ‘Outside
In’. ‘Watchman’ encourages your
imagination to wander much in the same vein as the final track ‘You Will Stay With Me’ which just leaves
the Chernobyl version of ‘Promise Land’
to close this thoroughly enchanting album.
There is always something special about self-titled records suggesting an artist in a state of introspective reflection and Hannah Miller’s
effort emerges as splendidly dark, absolutely alluring and stunningly simple.
Its lyrical sparseness, raw undertones and sultry gleam make it a record of
genuine appeal and one that fate may have played a hand in delivering it to me.
www.hannahmillermusic.com
