Irish singer and songwriter Hozier became an overnight sensation in America with the release of his 2013 E.P. Take Me to Church. Since then, Hozier has continued to captivate fans worldwide through an admittedly small number of musical offerings. Now, Hozier has promised a new album. Unreal Unearth is rumored to debut before the end of 2022.
Aidan Gardner, a Myers Park student, is cautiously enthused about the release. “He said he’d be releasing something in the summer of 2021. That didn’t happen. I do expect the album to actually drop this time since he’s given it a name.” The mythical release of 2021 may have simply been delayed to midwinter, when Hozier released his hit single, Tell it to My Heart, in collaboration with German EDM group Meduza. “I really loved seeing- or hearing- him branch out into the new genre,” says Gardner, “I hope he continues to explore new paths with his music, even though I still love his original sound.”
Gardner is ecstatic to be attending a concert headlined by Hozier taking place on March 10-12. While Gardner has plenty of theories, she hopes to scout for clues on the direction the new album will take. For now, Gardner has plenty of theories.
Hozier has released several sets of lyrics that may be included in Unreal Unearth. The title and lyrics of “De Selby” are a clear homage to Irish storytelling. The original De Selby was a fictional Irish philosopher who appears in the works of Flann O’Brien. O’Brien describes De Selby as a “physicist, ballistician, philosopher and psychologist” (The Third Policeman). He was known for his non-scientific beliefs, which were common humorous elements in O’Brien’s works. In these stories, De Selby attempted to dilute water, to prove that night was “the accumulation of ‘dark air,’” and to see into the past using a complex array of mirrors. His absurd theories are believed to have a basis in the works of philosophers Le Fournier, du Garbandier, Kraus, and the Le Clerque. Fans hope for paradoxical lyrics that combine De Selby’s ideologies and Hozier’s famous naturalist metaphors.
The second set of lyrics, “Rob the Goddess,” follows Hozier’s common theme of offering praise to a powerful feminine figure. Fans have noted its thematic similarity to a 2014 release, “Foreigner’s God,” which explores the increasing distance between people and their cultures, or imposter’s syndrome in religion and ethnicity. In both, Hozier uses a female subject to explore the complexities of faith. Gardner concludes by saying, “His lyricism- off the charts. His hair- it’s seen better days.” Gardner may be a Hozier fan for life, but she’s not a fan of his bob cut.
Hozier certainly has plenty of subject material for the new works. Previously, his music has detailed social issues and historic inequalities. Many of his lyrics intentionally invoke the strength and influence of marginalized figures, including Nina Simone and Mavis Staples in “Nina Cried Power.” Gardner is one of many fans drawn to this pattern. “He’s incredible at generating real activism through his music. How he lifts women is a rarity in music, and I appreciate how much credit he gives to folk singers and activists before him.” In today’s increasingly polarized world, Hozier continues to use entertainment to bring awareness to social, political, and religious issues. However, his music steers clear of didactic messages and stays danceable.
Gardner and millions of others are hanging on to the edges of their seats for the new album. She doesn’t care what genre Hozier pursues in this new music, “as long as he stays true to his roots and continues to produce amazing things.”