Richard Hawley returns with the follow up to 2012’s truly brilliant ‘Standing At The Sky’s Edge‘ – a raw sounding collection (certainly for Hawley, whose albums know a thing or two about production) which proudly wore its heart on its sleeve.
This latest record, ‘Hollow Meadows‘, takes away its predecessor’s intensity, and replaces it with clarity.
‘Hollow Meadows’ is sumptuous and lavish from beginning to end. Gone is the powerful, emotional beauty of ‘Sky’s Edge…’ for the introduction instead of a more aesthetic beauty. It’s less raw emotion and more deep contemplations on the world around him.
Put simply, its objective over subjective beauty.
Songs like ‘I Still Want You‘ offer Hawley’s rich baritone room to breathe. Tender and soothing, his voice sounds more natural than ever, and on ‘What Love Means‘ he really takes the opportunity to display this; it’s possibly why they were in turn chosen to open and close the album. ‘The World Looks Down‘ is dripping with melancholy, its charming message seems forlorn, a memory of fading hope – something missed rather than something longed for.
But it’s not just a one trick, orchestral pony. Throughout there are some wonderful sidesteps in style, and nods and winks to other sounds. ‘Long Time Down‘ has a country twang of sorts, while its slightly more upbeat chug gives an almost Tropicalia tinge, like Chris Isaak’s more overt country-tinged experiments on ‘Baja Sessions‘. ‘Heart Of Oak’ too hints at Big Country’s ‘In a Big Country‘ style grandeur and incongruous vocals. It might be less youthful and frenetic, but it’s no less brilliant. Big Country with the edges smoothed off. ‘Welcome To The Sun‘ has an almost late Johnny Cash, American Series feel – Cash’s take on ‘Nine Inch Nails’ ‘Hurt‘ being the first track jumping straight to mind, but not the last.
Yet it’s the similar ground being trod by Hawley and Mark Lanegan that really is worth discussion. Where ‘Sky’s Edge…’ was Hawley listening to Screaming Trees’ ‘Sweet Oblivion‘, ‘Hollow Meadows’ is more recent. It feels spiritually akin to Lanegan’s 2013 album ‘Imitations‘. The crops they plough may differ, but they are still working in the fields. ‘Hollow Meadows’ is the extroverted sibling of the more introverted ‘Imitation’, like listening to Nick Drake – all space to breathe – while ‘Imitations’ is John Martyn – just as rich, but more sparing.
All in all this record’s beauty can be summed up by the simplicity of ‘Nothing Like a Friend‘, which really is something special. It demonstrates Hawley’s brilliance, by feeling simple, natural, and yet somehow slightly ethereal. And this is constant throughout; no matter what Hawley turns his hand to, it is always steady. He has a light touch, so much so that some of its brilliance is almost imperceptible, but look close enough and it’s there.
Hawley is becoming Sheffield’s greatest musical troubadour, involved in music for the sheer love of it. This isn’t contrived; instead ‘Hollow Meadows’ is a true reflection of an artist at the peak of their extraordinary powers.
The joy of this record is in its subtleties; it’s in finding its quiet intimate secrets that are hidden there in plain view for all to truly appreciate.
