Hannah vs. the Many’s New Album Packs a Wallop
If you like the idea of Amanda Palmer but the nerdgirl shtick makes you want to barf, Hannah vs. the Many is the band for you. Their new album All Our Heroes Drank Here is streaming at their Bandcamp site, where it’s onsale for a sarcastic-as-hell $1. Hannah Fairchild’s acidic, unaffectedly malevolent, frequently menacing songs chronicle a bleak early 21st century depression-era New York drenched in disappointment and despair. She sings with a powerful wail, has a laserlike feel for a catchy tune and a worldview that’s something less than optimistic, no surprise given the uneasy, desperate milieu her characters inhabit. Her women drink hard and crash hard when their diminishing sense of hope finally deserts them – imagine a female Jarvis Cocker, or Aimee Mann in a really bad mood, with a harder-rocking band.
Over the roar and the chime of the guitars, Fairchild slings torrents of lyrics:
Looking for your echoes in the melodies I’ve found
There are songs I sing on days you’re not around
Every time the notes are pretty, every time the notes fail me
No kiss is ever more than sugar sweet
No affection is ever more than river deep
she wails, in Muse, the album’s loudest song, a hellbent, galloping rocker. Interestingly, her most opaque lyric is set to the album’s most striking, unpredictably memorable tune, the new wave-tinged Better Off My Way. Yet that one ends cruelly as well, her shellshocked protagonist standing in the harbor up to her ankles, freezing and fooling nobody. The most unselfconsciously beautiful song on the album, and maybe its strongest track, is Jordan Baker. Lushly watery Rickenbacker guitar chiming and mingling with the piano, Fairchild casually yet meticulously paints a picture that was doomed from the start – and it ends ambiguously with what might be a suicide…or maybe just the apocalypse.
Other songs are driven more by frustration and rage than by total emotional depletion. The bouncy, dramatic opening track, A Biography of Cells caustically chronicles a would-be up-and-coming New Yorker’s frustrations in an all-too-familiar milieu that later reaches fever pitch in the corrosive noir cabaret song The Party Faithful. Proof of Movement, a frustration anthem, contrasts a claustrophobic lyric with a bustling, insistent piano-driven art-rock melody, while 20 Paces quietly and apprehensively explores a budding, doomed, drunken relationship. True Believers is a lushly orchestrated art-rock anthem that takes an offhand swipe at a crowd who “came to be seen and we stay for the show, coming together to stand here alone.” The rest of the album includes an apprehensively glimmering chamber-rock ballad simply titled Nocturne, and the lickety-split noir cabaret scenario Hideous/Adorable. There’s a lot to like here – fans of noir rock, steampunk and gypsy rock as well as classic lyrical songwriters from Elvis Costello to Randi Russo should check out this band: solid, purist playing from Matthew Healy on piano, Jake W-M on bass, Erica Harsch on drums, Josh Fox on guitar and Meredith Leich on violin. It’s an early contender for best rock record of 2012.