On her self-titled release, Hannah Miller strips back the instrumental curtain for a more broodingly honest delivery.
Toting a minimalistic modernist sound to her folk-pop stylings this go-around and adopting a darker lyrical outlook along the way, Hannah Miller’s self-titled release checks boxes that her past records didn’t quite dare fully explore. The album’s composition is purposefully low-tempo and introverted, sewing personal truths across blues-drenched lines of austerity to the point that it can be called consistently a downer, which naturally won’t appeal to everyone.
For those willing to listen to her work here, they’ll see that it’s, at the very least, some of her most solid from a lyrical standpoint yet. “Oh my Lord/Must have dropped my soul/Somewhere in the sinking sand” she broodingly croons across the slow-burner “Promise Land”, featuring Jason Eskridge. Hannah Miller is an album that doesn’t push itself much beyond first gear in its composition, instead opting to lend itself mostly to her sultry voice and honest lyricism and delivery. Sonic cadences sometimes rear their heads, such as on opening track “Help Me Out” which features tinges of otherworldly electric guitar throughout, and with the introduction of piano and cello on closer “You Will Stay With Me”. On her self-titled album, Miller is looking to be loved, and she wears this on her sleeve so truthfully that it’s hard not to be hypnotized by the LP as it proceeds from track to track.