The Irish seem to have a way with it. Just when you thought you might be finally be done with rock music, David Gray’s new album makes you doubt all those reasons you had for leaving rock behind. Then U2 released “All That You Can’t Leave Behind” and made you forget all about those reasons.
Now, finally being released in the United States, is Nina Hynes’ “Creation.” Hynes, a Dublin singer who brings with her all the finer points of electronic alternative rock, avoids all of those pitfalls of current rock: no originality, clichŽd lyrics and uninspired melodies.
Hynes’ new album is a couple of years old in her native Ireland, but it was released just last November in the America. It will no doubt receive a warm welcome from fans of Mazzy Star and Bjork who are tired of the countless knockoffs.
For the last couple of years, rock has seemed to split into two directions. Inspired by the likes of Limp Bizkit and Korn, there came the branch that focused on repetitive loud guitars and poorly rapped lyrics about hating everything. The other side developed as an endless succession of female pop stars singing catchy little songs about heartbreak, set to a backdrop of calculated melodies. Both branches have become bogged down by predictability, with a lack of real standouts in a field where everything being done has been done already.
One of the things promising to save rock, however, is the infusion of techno-inspired electronic backgrounds. This style was demonstrated most recently by Radiohead and Bjork, the first artists to have true success with this blended formula.
Hynes and her accomplished group of musicians have managed to do a lot with this form. They were no doubt inspired by their Dublin surroundings, where electronic music is all the rage.
The electronic influence is most clearly seen and well-executed on the CD opener “William Tell.” The sound is quite European, with murky drums and endless amounts of reverb and echo.
On the next song, “William Tell” is contrasted with the more up front rock of “This Magic Stuff,” a pop song that seems destined for the airwaves. As with many of U2’s new songs, if it were not for the honesty of the delivery, it would almost be too pop. As is, in both cases, the listener can still seem to avoid feeling guilty when singing along energetically to such a catchy song.
The music on the rest of the album is layered with electronic riffs and samples floating over the top of guitar and bass and is accented by Hynes’ singing, which ranges from soft crooning to passionate near-screams. This voice is no doubt one of the factors keeping Hynes above the obscurity surrounding other female rock singers.
It is strong in a way that instantly recalls some of Bjork’s powerful ballads from “Post.” Hynes has a way of hitting high notes with such force you feel you might have to turn down the treble on your stereo.
Perhaps the main drawback of the album is its inability to capture her talents on CD. The songs do not fully deliver her capabilities that are evident in a live show. Hynes performed a solo acoustic gig at Cafe Paradiso last Saturday, following on the heels of newcomer Jessica Plotkin. Hynes’ show was solid, showing new workings of old songs and performing selections off her next album.
Her next album is titled “Staros” and will be released late this summer. When asked about the fresh batch of songs, Hynes said they relied on more loops and samples, and it represents a departure from her band. Most of the songs just feature Hynes herself, similar to albums by Mazzy Star. Mike Fitzgerald, her friend and manager, added that it was a lot more accessible.
“I’m not sure about accessibility,” responded Hynes, “but I prefer it much more.”