Hozier, Wasteland, Baby! | Album Review

Grammy-nominated Irish alternative musician Hozier returns with an alluring, well-rounded sophomore album in ‘Wasteland, Baby!’

Hozier is back! That’s right, the alternative, Irish singer/songwriter, best known for his Grammy-nominated hit “Take Me to Church”, returns with his long-awaited, highly-anticipated sophomore album, Wasteland, Baby!.  The groundwork was already laid for Wasteland, Baby! With the release of the EP, Nina Cried Power ( “Nina Cried Power” and “Shrike” are reprised on the album), as well as a couple of advance singles, including “Movement” and “Almost (Sweet Music)”. All in all, Wasteland, Baby! is an enjoyable, well-rounded sophomore album that has plenty of worthwhile musical moments.

“Nina Cried Power”

“It’s not the wakin’, it’s the risin’ / It is the groundin’ of a foot uncompromisin’ / It’s not forgoin’ of the lie / It’s not the openin’ of eyes / It’s not the wakin’, it’s the risin’.” Hozier commences Wasteland, Baby! powerfully with ✓ “Nina Cried Power”. He’s in full-on soul mode (think gospel), fitting given his legendary collaborator, Mavis Staples. Both artists pay ode to various musicians who were unafraid to protest via their songs including legends like Nina Simone, James Brown, Joni Mitchell, Bob Dylan, and John Lennon.  The chorus, with names changing, is the crème de la crème of the record.

“And I could cry power (power)

Power (power)

Power, lord

Nina cried power

Billie cried power

Mavis cried power.”

“Played from the bedside / Is ‘Stella by Starlight’ / ‘That Was My Heart’… / The drums that start off ‘Night and Day.’” That’s a number of different songs referenced to say the least on ✓ “Almost (Sweet Music)”. Like many songs by Hozier, there’s plenty to adore.  First and foremost are his distinct, powerful vocals. The production and sound are yet another selling point, with an incredible instrumental palette that includes guitar, piano, various percussion, and organ courtesy of Booker T.  This backdrop superbly fuels the singer/songwriter’s fire. Once again, the songwriting is awesome, particularly the catchy chorus.

“Movement”

Hozier delivers a nuanced vocal performance throughout ✓ “Movement”, which thrives off of its awesome songwriting, vocals, and production. On the verses, he opts for tenderer approach, gradually growing more dramatic and powerful during the chorus. Complementing his restrained approach on the verses is electric piano accompaniment. By the chorus, the electric piano transforms into a more passionate, gospel-tinged backdrop that includes organ, and chilling choral vocals.  The sound develops even more on the bridge, leading into the closing section of the record, backed by the most overt groove of the record.  Here, he digs even deeper into his chest voice, as well as sounding thoroughly impressive in falsetto.

Following a truly compelling opening trio, ✓ “No Plan” has a lot to live up to.  The five-and-a-half-minute joint ultimately continues the excellence of Wasteland, Baby!.  The throwback production work is a major selling point, with its soulful drum groove, robust bass line, rhythmic guitar, and piano.  The vocals and songwriting continue to shine, particularly on the chorus.  ✓ “Nobody” keeps the groove going strong, and also manages to reduce the duration by two minutes compared to “No Plan.” “Nobody” sounds as if it could’ve been written in the 1960s or 70s.  Even so, don’t characterize it as ‘anachronistic’ – it’s definitely refreshing in 2019.

“Still I’ve had no love like your love from nobody

I’d be appalled if I saw you ever try to be a saint

I wouldn’t fall for someone I thought couldn’t misbehave

But I want you to know that I’ve had no other love like your love.”

“To Noise Making (Sing)”

Hozier shows off some attitude and personality on “To Noise Making (Sing),” playfully singing, “Remember when you’d sing just for the fuck of it? / Any joy it would bring, honey, the look of it.” Groove and soulfulness continue to be the musician’s best friend, while the use of piano also accentuates the high quality of ear candy. “As It Was” adds a level of mysteriousness, embracing a minor-key, and initially finding Hozier singing in an undertone on the first verse. By the chorus, he sounds more dynamic, before bringing it down once again.  Interesting, “As It Was” is a bit less predictable in regard to form, which keeps things interesting.  He also ‘pulls back’ initially on “Shrike,” the gorgeous, Irish-infused folk ballad that concluded Nina Cried Power (EP).  Soon enough, he pushes his voice more, showcasing his power and the beauty of his instrument. 

“I won’t deny, I’ve got in my mind now / All the things I would do / So I try to talk refined for fear that you find out / How I’m imaginin’ you.” Moderate in pace, the soulful groove returns in all of its glory on the seductive ✓ “Talk,” a balanced performance that packs a punch without even threatening to become overwrought. Here, Hozier does a fine job of keeping one foot in the door of the past, while also remaining relevant in the present. “Be” finds the singer/songwriter dropping numerous Biblical and religious references, including St. Peter, The Garden of Eden (specifically Adam), and sin.  Even so, he definitely isn’t preaching a sermon fit for most churches.  Instead, he seems to embrace the original sin, singing, “Be like the love that discovered the sin (Love, be good to me) / That freed the first man and will do so again.”

“Dinner & Diatribes”

Love continues to dominate on the rhythmic “Dinner & Diatribes,” where Hozier asserts, “That’s the kind of love / I’ve been dreaming of.” What kind specifically? According to a Facebook post, he characterizes this quicker-paced, energetic record as “A playful number that tries to credit that feeling of relief when leaving any tedious social engagement.” Alright then…  “Would That I” returns to more of an Irish-tinged, folk-rock sound, not totally far-fetched from “Shrike,” but incorporating more soul and more bite, particularly on the chorus.  Like everything else on Wasteland, Baby!, it checks off the appropriate boxes.

Penultimate record ✓ “Sunlight” features truly poetic lyricism (“But whose heart would not take flight? / Betray the moon as acolyte / On first and fierce affirming sight / Of sunlight, sunlight, sunlight”), once more focused on love and likening to ‘sunlight.’ “Sunlight” is also unique beyond its lyrics, thanks to the music itself, incorporating an interesting harmonic progression, rhythm, and meter. The listener doesn’t hear title track “Wasteland, Baby!” until the very end of the album.  Once more, Hozier pulls back, as he once more sings about the subject that dominates the LP – love.  The chorus is stunning.

“Wasteland, baby

I’m in love, I’m in love with you

And I love too, that love soon might end

Be known in its aching

Shown in the shaking

Lately of my wasteland, baby

Be still, my indelible friend, you are unbreaking

Though quaking, though crazy

That’s just wasteland, baby.”

Final Thoughts

All in all, Hozier delivers an alluring, well-rounded sophomore album with Wasteland, Baby!.  Wasteland, Baby! shines thanks to its strong vocal performances, songwriting, and production.  Perhaps there’s not another record that has the same commercial potential as “Take Me to Church” from Hozier (an unexpected hit, of course), but there are plenty of superbly-penned, memorable songs, led by the likes of the powerful “Nina Cried Power” and the lovely balladry of “Movement.”

✓ Gems: “Nina Cried Power,” “Almost (Sweet Music),” “Movement,” “No Plan,” “Nobody,” “Talk” & “Sunlight”

Hozier • Wasteland, Baby! • Rubyworks / Columbia • Release: 3.1.19

Photo Credits: Rubyworks / Columbia