Hozier and their rise to prominence is, in hindsight, a wonderful inevitability. The Irishman has more than a few ballads in his back pocket and his self-titled debut is filled with them. An intensity and honesty to his wordplay have guided him through three impressive albums. Hozier shines the spotlight on his vocal warmth and the openness of his lyrical displays. It is one of the many consistencies of his craft, an impressive, considered range floats through. Sin and range go hand in hand for this debut record, a lightning-in-a-bottle experience which truly comes out of nowhere. A shattering piece of work which is much more than the breakout Take Me to Church hit. Sincerity guides Hozier on this debut record as it does on Unreal Unearth. He has a spark to his writing which gives honest appraisals to mythological texture.
Adapting that into modernised and palatable experiences for the every day is an exceptional flourish of his talent. Move beyond the hits. Angel of Small Death & The Codeine Scene has a wonderful depth to it which is found in its overwhelming embrace of the stomp and holler genre. But it is beyond the genre itself. Hozier would not sound as intense and welcoming as this if he had stuck to the genre which brought us Mumford and Sons. A self-taught musician with a knack for booming songwriting is what Hozier is. It can be heard in the likes of Jackie and Wilson, a stunner of a track which rides the highs of its backing vocals and instrumental flourish. But Hozier is keen to demonstrate the softer spots of his writing style with the guitar-reliant Someone New. Common themes swirl through these heartstring-tugging tracks, but they do their job with honesty and respect for the listener. Heartbreak simmers throughout through self-imposed reflection.
In turn, it makes for an essential listen for those at any stage in a relationship. Hozier helps and hurts in equal measure, but it ultimately provides a clear shot of values. Those turns of trying to understand the heart led to a constant and often understated blues interpretation. Soulful and open makes Hozier an artist whose words find themselves interpreted vaguely. But it means the healing process heard on his debut can begin in the heart of his listeners, and that is, ultimately, the longer-running point of this album. His words linger in the macabre, particularly the grave rotting of In A Week. Hozier offers a glimpse inside his heart and mind with these tracks, deep and moving instances of his fine songwriting, and how collaboration (here with Karen Cowley) can make all the difference.
Work Song is the best instance of this. Unity is passion and in passion there is love. Without it, there is nothing more than wreckage. Piecing those heartbreaking thoughts together is a monumental experience few can manage. For Hozier to do it on his debut is astounding but it marks a growing quality which was founded long before he put his best efforts to tape. Calm, considered and confident works from Hozier are in no short supply and they each hold this resounding impact. Hozier is a momentous collection of those chamber-like charms he displays on stage so frequently. Buried beneath these balladeer tones is a rage which forms the base of these Hozier tracks. He is a sleek stage presence fuelled by a hidden anger, something that benefits the best of his works – most of which are here.
