Another Assaultively Brilliant Album from Hannah vs. the Many
It’s never safe to say that one artist is the best in a particular genre: every time you think you’ve heard everything, a songwriter like Nehedar comes out of the woodwork and blows you away. But it’s safe to say that there is no better lyricist, tunesmith or singer in rock right now than Hannah Fairchild of Hannah vs. the Many. Her previous album All Our Heroes Drank Here was rated #13 on the best of 2012 list here and probably should have been #1. With its torrents of lyrics, savage humor, menacing noir cabaret cascades, scorching guitar riffage and relentless angst – not to mention Fairchild’s searing, wounded wail – it illustrates a bitter, doomed urban milieu as memorable as anything Leonard Cohen or Jarvis Cocker ever wrote. Hannah vs. the Many have a new ep aptly titled Ghost Stories just out and an album release show coming up on Nov 14 at Cake Shop. They’re ferociously good live, and Fairchild is as charismatic a frontwoman as you would expect after hearing her studio material.
The new ep reinvents several of the tracks from Fairchild’s 2010 solo album Paper Kingdoms. It’s amazing how different they are, yet how much the original, mostly acoustic versions sound like demos for these volcanic full-band performances.
All Eyes on Me builds from layers of resonant guitar from Fairchild and her brilliant lead player, Josh Fox, as the organ and keys rise to a slashing insistent Strat-fueled chorus. The narrative could be about a triumphant flight above the “the sorry strangers under glass, no time to think about their lives, identical in horror” – or it could be the desperate tale of a double suicide told from the point of view of someone with no fear of the reaper.
Lady of the Court is Fairchild at the top of her dramatic power, a bitter cautionary tale from the perspective of someone who’s just willing enough to work her way up…but to what? From its faux-bombastic twin guitar intro, it hits a roaring anthemic groove, Fairchild’s voice low and menacing as she traces another angst-fueled trajectory:
Unlikely princess in the eyes of the day-old drunks
I’ve never been the girl whose name is in the title
The story is ending and the world just blurs away
Turning pages and waiting on the hero
I am a guardian of thieves
Flying on unbuttoned sleeves
Falling in the backstreets but not for too long
It hits a wry 80s keyboard interlude on the way to a surprise ending.
Nicollet captures a bitter breakup over creepy piano-based art-rock. The original version has a folkie acoustic feel, albeit with a distant menace; what’s stunning about this version is how much more power, yet more nuance there is in Fairchild’s voice:
Crossing yourself at my door
You’ve come seeking some quick and easy absoloution
But I’m only as clean as the floors I’ve been kneeling on
The most explosive and arguably best song here is Poor Leander, a corrosively poignant account of two probably irreparably damaged souls hell-bent on NOT making things work, set to marauding noir cabaret rock:
Bedsheet around your shoulder, scrapes on both your knees
Were you running off the rooof again, my broken friend?
Now you’re flying out to save her from the latest ivory castle that you found
But the second she lets you in her window it’ll all come crashing down
The closest thing to the original here is the luridly torchy, aptly titled Slow Burn, which wouldn’t be out of place in the Julia Haltigan catalog. As with the rest of the album, guitars gleam and smolder, electric piano tingles and Fairchild’s voice rises from an anxious murmur to a vengeful scream and then back again. Forget about Grace Potter and all those wannabes: Hannah vs. the Many are the real deal, the teens equivalent of what Siouxsie & the Banshees were in the 80s or the Avengers ten years before.