Music

Gemma Hayes: Night on My Side

Adrien Begrand

Gemma Hayes

Night on My Side

Label: Astralwerks
US Release Date: 2003-04-22
UK Release Date: 2002-05-27
Amazon
iTunes

North American fans of British pop music probably first heard of Gemma Hayes sometime in 2002. If it wasn't a pretty song of hers on a bonus CD from one of those big UK music magazines that evoked a mildly interested "Who was that?" reaction from listeners over here, it was the news of her debut album being shortlisted for the prestigious Mercury Prize that summer. The 26-year-old singer-songwriter from Ireland has been the recipient of some very high praise lately, from critics and artists alike, and this past April, thanks to Astralwerks Records, we on this side of the Atlantic were given the opportunity to see for ourselves just what the big deal is with this young lady, as Night on My Side was given an overdue Stateside release.

Hayes is a very interesting artist; she has a gorgeous voice, one that sounds strong, yet fragile, like a cross between Beth Orton and Shawn Colvin. But unlike many of her female peers, she doesn't ruin things by oversinging and showing how much range she has. She sounds completely unpretentious and honest, which is a very welcome change, especially when compared to the bombastic Michelle Branch types we're stuck hearing on the radio. Even more fascinating are the two sides to Hayes's songs on Night on My Side: she often echoes the quiet, introspective, bedroom-style, gentle folk music of Joni Mitchell, but also goes to the other end of the spectrum, cranking up the volume considerably, as she mines the catalogs of such shoegazer artists as My Bloody Valentine and Slowdive, adding layers of droning guitars.

That heads-or-tails duality is driven home on the US release of the album, which differs greatly from the original UK release. Only seven of this version's 12 tracks appear on the original ("What a Day", from the UK album, is included here as a bonus track), as the other five tracks were lifted from various EPs and singles. Not only that, but the songs have been shuffled around, and now the US album is divided into two "sides", labeled "Day" and "Night". Typically, "Day" contains all electric songs, while "Night" features the more acoustic, quieter fare. What that neat and tidy organization does is showcase Gemma Hayes at her finest, revealing a major talent. Unfortunately, what it also makes more obvious is that she can also sound disappointingly bland at times. It's up to the listener to figure out what side of Gemma Hayes they prefer more.

Without a doubt, the first six tracks that comprise the "Day" half are absolutely stupendous. The songs are smartly written, very catchy, radio friendly, and positively buoyant at times. The album opens with a trio of songs that deserve attention from mainstream rock fans; "Hanging Around" starts off as sounding like yet another pre-packaged alternative rock song, but Hayes throws in a melody so lovely that it's actually surprising to hear. "Back of My Hand" utilizes some tiny hints of guitar drones underneath Hayes's almost country-ish phrasing, while the wonderful single "Let a Good Thing Go" turns up the distortion considerably, reaching almost Lush-like heights of layered, noisy guitars. Hayes goes fully into dreampop mode on the next three songs. "Tear in My Side" has that typical, slow pace and insistently strummed guitars, not to mention plenty of repeated, mantralike lyrics ("Tear in my side / I feel it all"), but Hayes's fresh approach makes it work very well. Same goes for the splendid "Work to a Calm", which originally appeared on the UK EP of the same name, as well as the ethereal "Lucky One", with its swirling, roaring guitars that make the song all the more anguished. The first half of this album is so good, you just want it to go on forever, carrying you away.

Sadly, the "Night" section sputters, and rarely leaves the ground. Not that the songs are bad; in fact, they're rather nice (especially "Making Waves", "Ran for Miles", and "4:35 AM"), but they're the same old thing we always hear from soul-baring female folk singers, and don't really offer the listener anything special or memorable. The one song that comes closest is "My God", as good a song about someone's crisis of faith as you'll come across, in which Hayes sings, "I'll keep the car running outside / While you go and make up your mind / Are you staying here or running wild with me / You know I could still love you".

Produced and mixed by the ever-present Dave Fridmann, who seems to be everywhere these days, Night on My Side has that trademark Fridmann sheen that creates a warm, clean sound, without sounding too overdone (David Odlum also co-produced). Listening to it, one can't help but wish there were more electric songs. Hayes sounds like she's on the verge of something special when the volume is turned up louder, as her wonderful voice fits nicely amidst all the distortion (something that contemporary shoegazers like the Stratford 4 sorely lack). For now, though, we have a very likeable debut album, one that manages to top the original UK edition. On this one, Hayes gives us six really good songs and six ordinary ones, but the better songs are good enough to make this album a very worthwhile listen.

To be a migrant worker in America is to relearn the basic skills of living. Imagine doing that in your 60s and 70s, when you thought you'd be retired.


Nomadland: Surviving America in the Twenty-First Century

Publisher: W. W. Norton
Author: Jessica Bruder
Publication date: 2017-09
Amazon

There's been much hand-wringing over the state of the American economy in recent years. After the 2008 financial crisis upended middle-class families, we now live with regular media reports of recovery and growth -- as well as rising inequality and decreased social mobility. We ponder what kind of future we're creating for our children, while generally failing to consider who has already fallen between the gaps.

Keep reading... Show less
7

Very few of their peers surpass Eurythmics in terms of artistic vision, musicianship, songwriting, and creative audacity. This is the history of the seminal new wave group

The Rock and Roll Hall of Fame nominating committee's yearly announcement of the latest batch of potential inductees always generates the same reaction: a combination of sputtering outrage by fans of those deserving artists who've been shunned, and jubilation by fans of those who made the cut. The annual debate over the list of nominees is as inevitable as the announcement itself.

Keep reading... Show less

Barry Lyndon suggests that all violence—wars, duels, boxing, and the like—is nothing more than subterfuge for masculine insecurities and romantic adolescent notions, which in many ways come down to one and the same thing.

2001: A Space Odyssey (1968) crystalizes a rather nocturnal view of heterosexual, white masculinity that pervades much of Stanley Kubrick's films: after slithering from the primordial slime, we jockey for position in ceaseless turf wars over land, money, and women. Those wielding the largest bone/weapon claim the spoils. Despite our self-delusions about transcending our simian stirrings through our advanced technology and knowledge, we remain mired in our ancestral origins of brute force and domination—brilliantly condensed by Kubrick in one of the most famous cuts in cinematic history: a twirling bone ascends into the air only to cut to a graphic match of a space station. Ancient and modern technology collapse into a common denominator of possession, violence, and war.

Keep reading... Show less
10

This book offers a poignant and jarring reminder not just of the resilience of the human spirit, but also of its ability to seek solace in the materiality of one's present.

Marcelino Truong launched his autobiographical account of growing up in Saigon during the Vietnam War with the acclaimed graphic novel Such a Lovely Little War: Saigon 1961-63, originally published in French in 2012 and in English translation in 2016. That book concluded with his family's permanent relocation to London, England, as the chaos and bloodshed back home intensified.

Now Truong continues the tale with Saigon Calling: London 1963-75 (originally published in French in 2015), which follows the experiences of his family after they seek refuge in Europe. It offers a poignant illustration of what life was like for a family of refugees from the war, and from the perspective of young children (granted, Truong's family were a privileged and upper class set of refugees, well-connected with South Vietnamese and European elites). While relatives and friends struggle to survive amid the bombs and street warfare of Vietnam, the displaced narrator and his siblings find their attention consumed by the latest fashion and music trends in London. The book offers a poignant and jarring reminder not just of the resilience of the human spirit, but also of its ability to seek solace in the materiality of one's present.

Keep reading... Show less
8

Canadian soul singer Elise LeGrow shines on her impressive interpretation of Fontella Bass' classic track "Rescue Me".

Canadian soul singer Elise LeGrow pays tribute to the classic Chicago label Chess Records on her new album Playing Chess, which was produced by Steve Greenberg, Mike Mangini, and the legendary Betty Wright. Unlike many covers records, LeGrow and her team of musicians aimed to make new artistic statements with these songs as they stripped down the arrangements to feature leaner and modern interpretations. The clean and unfussy sound allows LeGrow's superb voice to have more room to roam. Meanwhile, these classic tunes take on new life when shown through LeGrow's lens.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image