Album Review: Hozier’s Stunning Third Album ‘Unreal Unearth’ Debuts a Darker Poetic Narrative Illuminated by the Bright Side of Metamorphosis

Hozier has always been known for his profound sense of poetics, creating romantic yet politically intense tracks filled with a sense of woodland divinity, crafted expertly underneath the cavernous murmur of his deep baritone. Now, the Irish-born artist confronts hell on his new album Unreal Unearth, which in turn serves as both a method of musing through the existential and as a requiem for a changing world.

Written by Rachel Joy Thomas

Hozier is an artist defined by potency. His poignant, powerful lyrics couple well with his voice’s ethereal tone, produced alongside fervent choruses and romantic interludes. While his music has always felt dark, stormy, and lucid, there's something even more potent about the quality of Unreal Unearth that transcends the usual nature of his artistry. Created 10 years after his breakout Take Me to Church EP, Unreal Unearth comes with moodier, more profound energy than his now-signature introspective works.

Unreal Unearth finds power through minimalism, like in "De Selby (Part 1)." As the instrumental starts, it feels luscious in its production and ambiance, shifting from English to Irish Gaelic alongside bone-chilling choruses. As an introduction to the album, it encapsulates Hozier's messaging of metamorphosis, moving ambiently between light and dark, as well as themes such as love, hell, and their convergence.
Some superb power finds its way on tracks like "Francesca." "Francesca" features some of the most powerful lyrics on the album, such as "Heaven is not fit to house a love like you, and I / I would not change it each time." Hozier doesn't stray from the topic of sin in his music, and "Francesca" is no exception. The beauty that characters Paolo and Francesca find during their affair allows them to accept their fate, regardless of the consequences; thus, they exist in the second circle of hell. Emphasizing this, Hozier powerfully sings, "I'd tell them, "Put me back in it" / Da-ah, darling, I would do it again."

Another single, "All Things End," feels like a classic addition to the album. Going through the motions of ending a romantic relationship, "All Things End" feels both ethereal and graceful, serving as a requiem for the rest of the album. Accompanied by a large gospel choir, it introduces an almost Christian theme that recounts, "And all things end (Knowing we can always start again) / All that we intend (Knowing we have another day)," contrasting the narrative themes of hell throughout the record.

One of the most significant influences on this album comes from Hozier's Irish origins, which comes to fruition on tracks like "Eat Your Young." Originally debuted as a single on St. Patrick's Day, “Eat Your Young” stubbornly digs itself into the mind of its listeners while also packing a resounding, systematic theme. Influenced by Ovid and Dante's Inferno as well as Ireland’s historical struggle for independence, it takes more of a tongue-in-cheek approach to gluttony with lyrics like "Skinning the children for a war drum / Putting food on the table, selling bombs and guns / It's quicker and easier to eat your young," a reference to political conglomerates and their influence on war, specifically regarding the constant desire for war as a form of pride and gluttony. "Eat Your Young" is heavily influenced by "A Modest Proposal,” a satirical text by John Swift. British occupation and the struggle of the Irish people are historical components referenced in the lyrics on this track, amongst other songs that comment on Ireland's tragic history. The influences of Hozier's home country, Ireland, alongside its colonial and religious roots as a foundation for this album's hellish theming, share the country's culture while digging into its more critical issues. This aspect of the album showcases itself on tracks like "To Someone From a Warm Climate (Uiscefhuaraithe)” but is especially prevalent on "Butcher's Tongue," delving into the melancholy narrative of the Irish rebellion of 1798. Coupled with Hozier's usage of Irish Gaelic on “De Shelby (Part 1),” a relatively lost national dialect of Ireland that only 40% of the native country speaks, the album does more to illuminate both the problems and heritage that exists in Ireland than other Hozier records.

Hozier does have low points on this album, like with the song "Anything But." Unlike the shift in energy from "De Selby (Part 1)" and "De Selby (Part 2)," the change between "Butchered Tongue" and "Anything But" is jarring. As an unfortunate aspect of some of the more pop-focused sounds included on this album, "Anything But" suffers from feeling generic and off-center, only supported by the stand-alone nature of the track that could be refreshing to some listeners. It's challenging to compare superb tracks like "Son Of Nyx" or "De Selby (Part 1)" to "Anything But" because they feel entirely separated by mood, as they are surprisingly cheerful considering the lyrics and overall stark thematic presence of the album. The song strikes a balance by having a more thoughtful presence in its lyrics, with biblical and heavily narrative-driven references like "In a shot, I'd swap my body for a body of water / Worry the cliff side top as a wave crashing over." Still, it's a more disappointing part of Unreal Unearth compared to larger, more all-encompassing songs.

Another song that fails to match the same potency as other tracks on the album is "Damage Gets Done," the only song on the album to feature another artist, Brandi Carlile. Tackling the fourth circle of hell and focusing on the nature of greed, "Damage Gets Done," while having the general energy of a "power ballad" from the '90s, it feels somewhat simplistic in comparison to the lofty, panoptic perspective in other songs from the album. When considering the themes of Unreal Unearth, it seems especially weak, as it doesn't feel like an adequate representation of greed. While Carlile's vocals add a certain level of depth, a very prevalent duet energy to the track feels more standalone than cohesive with the rest of the album, making it weaker by comparison.

Interspersed with weaker tracks come surprisingly heavy hitters. "Abstract (Psychopomp)" comes after "Anything But," re-emerging the listener into the atmosphere of the album. A psychopomp is an orchestrator, guiding lost souls to the afterlife once they die. In a sense, Hozier grieves as he takes on the mantle of a psychopomp, describing the experience of watching a deer die on the side of the road in the lyrics of this track. As he sings, he describes it as "The poor thing in the road, its eye still glistening / The cold wet of your nose, the earth from a distance" Then, while singing, he provides some of the most powerful vocals on the album, calling out, "See how it shines?" as a means of celebrating the deer's life and his own, reflecting on the interlocked nature of beauty in life and death.

While most tracks on Unreal Unearth stick to a dark ambiance that feels like the undergrowth of an ancient tree, some float away from the addictive nature of that darkness and reach toward a more typical sound. While well constructed, those tracks are difficult to compare to the more earthy production on this album. Tracks like "All Things End" and "Sound of Nyx" heavily encompass the more ethereal aspects of the album, demonstrating the excellent craftsmanship, musical ability, and overall instrumentation of Hozier. In contrast, songs like "Anything But" and "Damage Gets Done" come at the expense of the overall sound and messaging of the record rather than fitting the theme of metamorphosis. While a superb addition to Hozier's discography, a few songs leave the album with specks of imperfection. Still, as an expansive addition to his repertoire, the sum of Unreal Unearth's strengths greatly outmatch its weaknesses.