THE LAYERS OF UNREAL UNEARTH
My review of Hozier’s latest album, “Unreal Unearth”
Me and my friends at Hozier’s concert in April :)
The nine circles of Hell, as depicted in Dante Alighieri's famous poem Inferno, represent a gradual descent into increasing levels of sin and punishment—from the first circle, Limbo, to the ninth circle, which is reserved for humanity's worst sinners. Each level represents various types of moral wrongdoing and the corresponding punishment. This intricate portrayal of moral decay isn't just a literary masterpiece; it also fuels the haunting brilliance of Andrew Hozier-Byrne’s third album, Unreal Unearth.
I am someone who tends to latch onto things inspired by literature. Hozier has always scratched this literary itch for me, so it’s hard for me to dislike his discographies. With his Irish background, Hozier draws on the rich tradition of Irish mythology and folklore in a number of his songs. Hozier also frequently uses biblical imagery and themes to explore contemporary issues. For instance, his hit song "Take Me to Church" critiques institutional religion and its stance on homosexuality, drawing parallels to themes of sin, guilt, and redemption often found in religious texts.
When I started diving into Unreal Unearth when it first came out in August of last year, I can honestly say I haven’t been this enamored with an album as a whole in a while. Unreal Unearth is an emotional odyssey, each song resonating with personal depth and artistic brilliance. Drawing from the eerie worlds of Flann O’Brien’s The Third Policeman, the tales of Ovid, and Seamus Heaney’s translation of Beowulf, Hozier crafts an album that delves into the complexities of the human experience, capturing the listener with its poetic lyricism and soundscapes.
At the time of listening to the album, I had just been in a horrific car crash. Listening to this album really spoke to me in a way that helped me rebirth myself from the depths of the trauma and move on from the pain. In a way, I pictured myself as Dante in this album, trudging through the layers of Hell to come out as a new and reborn person.
The album opens with “De Selby (Part 1)” and “De Selby (Part 2).” At first, they seem to be the only songs that are not directly related to Dante’s Inferno. But for me, they represent the start of Dante’s path inside the nine circles of hell. Taking inspiration from O’Brien’s novel The Third Policemen, De Selby is a mad scientist and philosopher who proposes various outlandish theories. Hozier’s lyrics delve into themes of searching and existential pondering, making connections from O’Brien’s novel to Dante’s depiction of souls lost in obscurity.
Part 1 is a hauntingly introspective song that delves into the themes of self-reflection. We can see a direct reference to O’Brien’s story in the first lines of the song: “At last, when all of the world is asleep, you take in the blackness of air, the likes of a darkness so deep, that God at the start couldn’t bear.” De Selby preaches that darkness was simply an accretion of 'black air', a staining of the atmosphere. While listening to this song, I find myself relating to the sense of longing and reflection during times of darkness. My favorite part of the song is the chorus, which is sung in melodies of traditional Gaeilge to add to the mystical and ethereal quality of the song, something that Hozier has never done before in his previous discographies.
The transition into Part 2 is a soulful blend of funky, fresh, and folk which is more Hozier’s style. The song delves into themes of intimacy, escapism, and the desire to merge with another person's essence. The song also touches on the idea of running against the world, a metaphor for resisting the pressures and expectations of society. The desire to “move so fast that I'd outpace the dawn” and “block the sun" speaks as a yearning to control one's destiny and to create a space where only the two lovers exist, untouched by the outside world. At the time of listening to this album, I was going through a hard time mentally and wanted to flee from reality to craft a new one that is solely my own where I can be happy. This track spoke to me on a very personal level, and made me feel understood.
In “First Time,” we head to the first circle, Limbo. Here, Hozier sings from the grave of lost love with lines like, “These days I think I owe my life / To flowers that were left here by my mother” and “Some part of me must have died / The final time you called me baby.” The term 'baby' signifies moments of death and rebirth for the protagonist, each instance marking the end of an old self and the beginning of a new one. The imagery of flowers, nurtured by the protagonist's mother, represents this cycle of life, death, and rebirth. The lyrics remind me of moments when despair gives way to new beginnings, reflecting Dante’s journey towards enlightenment.
“Francesca” and “I, Carrion (Icarion)” sit in the second circle, Lust. I feel like Hozier writes about Lust in the context of depicting it through the lens of tragic love stories, emphasizing the emotional intensity, devotion, and complexity of human relationships; a lot of his past tracks fit that vein. “Francesca” beautifully intertwines love and tragedy, reminiscent of the tale of Francesca da Rimini from Dante’s Inferno. This fictional idea that there is this woman who is being punished in Hell for falling in love. I think that the emotional weight of forbidden love and its consequences highlights Hozier’s ability to capture the complexity of human relationships. “I, Carrion (Icarion)” uses the myth of Icarus to show how Hozier would go so far to fly to the sun to his death if it meant she would stay.
Moving through to circles three and four, Gluttony and Greed, we get “Eat Your Young” and “Damage Gets Done,” which features vocals from singer-songwriter Brandi Carlile. Hozier almost never has features on his tracks so it’s always special when he finds someone who can match his vibe and add to the song. The song’s chorus, "And darlin', I haven't felt it since then / I don't know how the feelin' ended / But I know being reckless and young / Is not how the damage gets done," reflects nostalgia and the realization that youth's innocence isn't what causes life's hardships and how eventually growing up brings greedy disillusionment. “Eat Your Young” parallels the gluttony depicted in Dante’s third circle. Lyrics like "Pull up the ladder when the flood comes / Throw enough rope until the legs have swung," use metaphors to depict survival instincts and the lengths people go to protect their interests, even at others' expense.
My favorite track is the first one that made me cry: “Unknown/Nth.” Exploring the fear of the unknown, the song resonates with Dante’s journey into the abyss. It’s a powerful reminder of the courage needed to face life’s uncertainties, striking a chord with my personal struggles to embrace change. While the song has such a depressing and relatable subject, I genuinely believe that this is the song that I will walk down the aisle to at my wedding. The instrumentals of this song impact me in such a way that I feel like I am being resurrected from the circles of Hell, instead of going deeper into them.
The album closes with “First Light,” which captures the essence of new beginnings and discovery. The hopeful tone mirrors the redemption found at the end of Dante’s journey, which left me with a sense of renewal and optimism. Layered choirs and strings close out the album in triumph. No doubt this is how we all wish we could face difficulties in life, and I think it’s the only ending to such an incredible piece of art.
Unreal Unearth lives up to its name, feeling both ethereal and deeply rooted, evoking hidden emotions and untapped strengths. As a fan, I am moved by the way Hozier intertwines personal and universal themes, creating a timeless work that continues to resonate on multiple levels. It's expansive, imaginative, and absolutely worth the anticipation and journey.
