This album starts off with “Inhaler”, and right off the bat, I have to give credit to Sacred None for always being able to usher in this wildly dense atmosphere. Then we have these very dainty pianos in the midst of it, and it’s actually pretty breathtaking. This sound right here, while yes it’s done a LOT nowadays, Hilary does great with it. We have these pounding drums that are so slow and this haunting piano melody, and of course, Hilary’s very warm, soothing vocals. Instrumentally this does sort of go in the direction that something maybe Zola Jesus would do. But lyrically and vocally I can see fans of Marissa Nadler or Julee Cruise fans being really into this. Not only that, but there is this unbelievable sense of desperation here, of longing, or loneliness and more. It’s an immensely powerful intro that will have any Twin Peaks fan pining for another season just to see Hilary grace the Road House. It’s immensely beautiful, but it’s also absolutely crushing. On the other hand, “Prodigal Dog” has a huge weight lifted off it, and doesn’t have nearly as much of a crushing atmosphere. But this one all around is so much easier to dissect. Instrumentally this one is so much more alive, we even get some very sweet strings in the background. This is an oddly cinematic sound but I’m totally into it. As far as lyrics go, we have a lot of the same themes of rejection, with Hilary sounding incredible wounded. But for her style of music, it just works so well, even though it’s been done. This track is absolutely beautiful and delightfully dark, but like a lot of albums coming out of Sacred Bones, there’s great comfort in that. There are elements of everything Gothic Folk to Darkened Dream Pop, but Hilary seems in control of it all. “Take Him In” is even more stripped down, with some gorgeously plucked guitars and some of Hilary’s most stunning vocals yet. Here, they go for a more layered approach, but it gives this track a very mystic feel to it. As a matter of fact, this album in general just has a very mystic, ethereal vibe. Now, personally, I wish this went a little further because it’s just so close to being this suffocating yet beautiful track. And from the sound that distant, pulsating beat, it’s so close. But this is still a very dreamy, beautiful track with plenty of darkness lurking. As this album flows on with “Kith”, it drifts further and further away from that Folk sound that started this album off. This is the most stripped down track yet and has Hilary sounding downright dangerous, which I don’t hate. But this album started with all of these interesting sounds coming together very boldly. But as this album has gone on, Hilary has slowly let some of them go. Which sadly, really is taking a little away from the atmosphere and these instrumentals. However, her vocal performance on “Kith” is one of her most chilling while also charming. But all of these very dreary tracks for me are starting to blend just a little.
On the other hand, “Jesus Said” has enough mystery on it for the entire album. This one shows Hilary in a more pissed off state, bringing up religious confusion and for the most part throwing it aside. It’s deeply personal, especially as she retorts that she wants her skin back to live in. It’s wild, and while I do wish this track was maybe a little heavier, it’s the mysterious and dense tune that I needed. The beat that pops in is refreshing, and this one is just so cold and uninviting. Just as uninviting as the lyrics to be honest. Not to mention, it just shows Hilary at her absolute last nerve, and she comes off so close to this breaking point. All while at the end of the day, remaining pretty beautiful. And the extended Piano solo is absolutely breathtaking. “Sever” however instantly starts bringing up some really nice tension. It’s just as absolutely beautiful and at times a little dainty. But there’s just so much built up tension seemingly underneath. This one has some good ideas and some sweet vocals. But this one is a little awkward. I can’t shake the feeling that this track was just an afterthought, just thrown in at the last minute as an interlude. Hell, I feel like this would have affected me more as a straight-up instrumental. But like I said, it still does have some nice ideas. But if this album didn’t already scream David Lynch, “Black Rainbow” takes it to the next level. This is one of the dreamiest, dreariest, slow dance tunes you’re going to hear this year. Even in the lyrics, Hilary just seems ready for love and almost desperate for it. And to an extent, I don’t really think that twinkling piano is even necessary. But this is still some of the evilest Doo-Wop you’re you’re going to hear this year. Not to mention, Hilary’s whisper quiet vocals are just so twisted and perfect for this. Then we have “Limbs” as a finale, and let me tell you. As a broke down piano ballad that’s straight up beautiful, this is one hell of a final track. The pacing is absolutely incredible. Hilary here is at her most cryptic and hard to figure out, to be honest, but it actually adds just so much to the very mysterious vibe of this album. It helps this album end off on a very dramatic note that just feels so final.
On the other hand, “Jesus Said” has enough mystery on it for the entire album. This one shows Hilary in a more pissed off state, bringing up religious confusion and for the most part throwing it aside. It’s deeply personal, especially as she retorts that she wants her skin back to live in. It’s wild, and while I do wish this track was maybe a little heavier, it’s the mysterious and dense tune that I needed. The beat that pops in is refreshing, and this one is just so cold and uninviting. Just as uninviting as the lyrics to be honest. Not to mention, it just shows Hilary at her absolute last nerve, and she comes off so close to this breaking point. All while at the end of the day, remaining pretty beautiful. And the extended Piano solo is absolutely breathtaking. “Sever” however instantly starts bringing up some really nice tension. It’s just as absolutely beautiful and at times a little dainty. But there’s just so much built up tension seemingly underneath. This one has some good ideas and some sweet vocals. But this one is a little awkward. I can’t shake the feeling that this track was just an afterthought, just thrown in at the last minute as an interlude. Hell, I feel like this would have affected me more as a straight-up instrumental. But like I said, it still does have some nice ideas. But if this album didn’t already scream David Lynch, “Black Rainbow” takes it to the next level. This is one of the dreamiest, dreariest, slow dance tunes you’re going to hear this year. Even in the lyrics, Hilary just seems ready for love and almost desperate for it. And to an extent, I don’t really think that twinkling piano is even necessary. But this is still some of the evilest Doo-Wop you’re you’re going to hear this year. Not to mention, Hilary’s whisper quiet vocals are just so twisted and perfect for this. Then we have “Limbs” as a finale, and let me tell you. As a broke down piano ballad that’s straight up beautiful, this is one hell of a final track. The pacing is absolutely incredible. Hilary here is at her most cryptic and hard to figure out, to be honest, but it actually adds just so much to the very mysterious vibe of this album. It helps this album end off on a very dramatic note that just feels so final.
Rating: 7.8/10
Give A Listen To: "Inhaler", "Prodigal Dog", "Jesus Said", "Black Rainbow"
Least Favorite Track: "Server"
Genre: Dream Pop / Gothic Folk
Overall Thoughts: Hilary Woods on this album creates a lush set of songs with dreamy vibes and often a nightmarish atmosphere. Coming off as a cross between Zola Jesus and Marissa Nadler, the music on this album is often slow and very intense, and more often than not, beautiful. There are a few times that I worry a track or two overlaps a little too much, and one or two tracks could have been more fleshed out. But overall, I think this is a very solid debut that shows Hilary's talents. I actually would have liked this album to be a little longer, but that's just me.
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