More treasures picked up from the Unreal Unearth edit floor.
Throughout this “extra” extension of the full length LP Unreal Unearth, roguishly named Unaired–until this EP drop, Hozier and his ensemble demonstrate how modernity and simplicity can coincide to create instrumental nuance and layers. These elements keep the songs fresh with genre-fusing homages creating a timelessly classic resonance. One of Hozier’s instrumental staples is embracing the unique nature of two worlds–wherever they reside (opposite ends of the galaxy even)–while bringing them together in harmonic and melodic dances. I can’t recall any other artist being able to do this with the frequency of Hozier. He dances this knife edge with regularity and unparalleled prowess.
With a wildly trilling trumpet arpeggiating up, we are off to the races with this new EP! “Nobody’s Soldier“ brings groovy baseline and drums reminiscent of some old school pop and soul. To match the opening energy of the music, the lyrics start out strong and “running with bulls”. Loads of comparisons made in this song— I could either be this or I could be that. Instead: ”You’re making me choose and I don’t want to…On top of that, you can’t make me.“ That’s the energy this track is giving from the outset.
His upper vocal range is incredibly strong and well-showcased that in this first track. A song of wailing frustration, the lyrics focus on witnessing war and violence worldwide in this digital age and the mental strain of it all. The helplessness and frustration of feeling somehow complicit. “Nobody’s Soldier” demonstrates the collective exasperation felt with current events-both here, on the other side of the Atlantic, and around the world. It’s very much an anti-war protest track, but with vulnerability and a measure of uncertainty. How apropos. Toward the end, there’s a fantastic musical breakdown akin to a marching corps–as if to deride the need for war: chanting “being a butcher… being a pauper.. I’m going to be nobody’s soldier”.
I love the rebelliousness this song has in it, yet tinged with uncertainty of one’s own position and impact— positioned alongside abject resolution to reject tacitly supporting war. According to NME magazine: Hozier states this song is “in solitary with anybody who’s contacted their representatives or put feet on the street in honest Goodwill and human witness of the lived experience of other people on the other side of the world”.
The second song “July”, of which Hozier states is the sister song to “Wildflower and Barley” from the Unheard EP. Like it’s sister song: Hozier uses imagery of Irish fields of flora while reflecting on the sense of freedom that could have been. Freedoms we lost because COVID hadn’t been mitigated better, for example. It captures a longing desolation that permeates every thought/feeling when hope is dashed. Delta strain was on the rise and restrictions had to be reinforced in Ireland, at a time when they were about to be lifted. None of us need strain to imagine the disappointment, as many times in many countries: these are collective experiences.
Despite the sense of loss, there’s a message of resilience. “July” highlights the strength and hope emerging during challenging times—emphasizing the human spirit’s ability to endure to find beauty even in hardship. The pastoral imagery of this track and its sister— emphasizes newfound beauty found in simple elements, like wildflowers and barley, that we normally would see as commonplace. As if things take on a preternatural lure in those lonely moments and longing days.
This track’s piano deftly plays subtly significant role- underscoring the pensive nature with flowing gentle cords and occasional melodies. The strings bring a lush quality while percussion uses brushed snare hits and a steady kick drum, beating a strong pulse without overpowering. Its bass counterpart provides a solid foundation, anchoring the full harmonic structure and giving the thematic architecture coziness- as if you’re in those fields with an Irish sun shining on your face.
Hozier’s final EP track begins with Hozier quietly counting in. It carries an serene and peaceful tone with soft finger plucked strings in one person’s hands and gently strummed guitar in another’s. We placidly stroll to the chorus with Bedouine joining on Harmonies- her smooth contralto voice accentuating Hozier’s tenor. That You Are is a delicate “hymn” of loving devotion and portrays a deep desire to be wherever our loved one is. Home is wherever our person is. Our person is our home.
In each singer’s introductory verse, we hear two sides of the struggle. On one side: Hozier remarks on a unnatural cityscape and finding harmony in its rhythm (as if something’s missing). On the other side: Bedouine accepts imperfections that fall away in the pursuit of what could be within that seemingly unfriendly cityscape. This “cold” city’s in a driving prayer: to be content and only being with your beloved will do. That’s the prayer of this song and the city: like the city exists for these two to be reunited in. Likewise, these two people exist only to be together and blissfully in love. “This city locked into the song of prayer”.
This track moved me beyond measure. The chorus is more than reminiscent of a call to prayer: Hozier loves his little blasphemies in music and this sly reference is an exceptional one. “Anywhere that you are, that I’d be. But prayer is all of me. THE prayer is all of me”. Subtle yet, when one looks to the almost chant-like delivery through the verses, one can’t help but let Hozier take us to church again.
