Hozier Travels to Eden For a Power-Packed Ditty

Who wasn't blown away by the heaviness wrapped around Irish troubadour Hozier's "Take Me To Church". You and I practically got alter rail rug burn from his spine-tingling testimonial. This budding talent returns with "From Eden". His aching ticker remains on full, unapologetic, unabashed display but, to the benefit of those faint of stomach, the songcraft isn't calling rock bottom gut bucket blues home. His guitar moves by his side in a strident tone. Added in for steady hand effect we get drums that patter rather than show off their wares a la Buddy Rich, a drummer's drummer if ever the term could be coined. As a poet myself I must say lyrically Hozier's in full lock and load mode. Take a peek at the numerous adjectives he uses to describe his we presume troubled ladylove. "Something wholesome about you." Therein lies the positive part. In the same breathe we're treated to "there's something so lonesome about you. "Magic" and "tragic" get a turn in the poetry rhyme go round. A lot of what comes through in her characterization is a damsel too weakened by the world she inhabits to cultivate any variety of response that shows she's anything other than indifferent. Hozier's screwed no matter what direction he turns. She doesn't have time for him. Tired sighs smack of entirely too much effort. What about vacant stares? Not a drop. Look what Hozier does to the oft lost innocence we supposedly have jettisoned in some way, shape, or form for generations. To Hozier's way of thinking it's dead. Don't expect idealism to be too proud of its lot. It languishes in prison. Chivalry became the victim of a sword's unforgiving wounds. What happened to the vacant stares and who cares affectations. Like I said when you struggle to figure out which way is up you don't have the inner strength to stress your dissatisfaction. Poetry in the name of learning what makes her tick. That Hozier cares enough to inquire about her well being demonstrates that the maimed chivalry is not mortally wounded at all. Biblical temptation images run deep. Whether engagingly or not Hozier contends "I slithered here from Eden just to sit outside your door. Overall the harmonies maintain steady pace. You aren't left gasping for air trying to keep up with the direction the thoroughbred is racing towards. Hozier paints "From Eden" in shades of "Let me appease the darkness that threatens to pull you under. In comparison "Take Me To Church" was a crucifixion soundtrack cut, thorns and all. It succumbed to the darkness. Hozier's to be praised for keeping his slowly weeping poem intact without sacrificing mellow vulnerability to get there. "From Eden" can best be classified as heaven sent and because of this it's a triumphant addition to his ever swelling body of work.