Album Review: Hush

IVY is the type of band who plays music that would transfix you in a live setting, creating fans on the spot, but also the type that could be played beneath the immediate notice of those in a room if played quietly. I can visualise them playing to a baying crowd, pouring their hearts out to their tunes about heartache and the epic search for deeper meaning in a cold world, but, also playing in a jazz bar to a few lucky punters marvelling at their complex sound. IVY come off as proficient, cultured and emotional. Their sound is complex, and while easy listening might seem condescending, it certainly goes down very smooth. Combining elements from alternative rock, but softening some of those rougher edges to present a sumptuous and rich sound, IVY are a band to look out for before they leave our shores for bigger things. They showcase incredible vocal performances over jazzy beats supported by swooning violin, building textures created by reverb drenched guitar. The sound is sophisticated; the songs are powerful.

The Ōtepoti-based quintet’s debut album, Hush, is a beautiful blend of the dark and the euphoric. Atmospheres are concocted like swirling fog, then are dissected by intricate beats that occasionally change time signatures or play with (or invert) pop music conventions. Here, the band creates an intricate and layered chef-d’oeuvre that aches, soars and, occasionally, rocks. The band is Jesse Hanan on rhythm guitar and lead vocals, James Axton on guitar, Connor Cooper on bass, Louis Stevenson on violin and Ocean Wilson on drums.

Invasion begins the adventure with an unassuming guitar introduction, then the unusually clear, tenor voice of vocalist Hanan enters. Only, there’s something a little unsettling about the foreboding melody, as if the song is a warning, despite being pretty. There’s a slow build through the tension and I’m reminded more than a little by Sigur Rós. Second track Loon has a more solid beat with a jazzy shuffle feel. There’s a slower but heavier feel to this track with a yearning violin. The instrumentation, particularly the guitars giving way to bass in the verse and the way the vocals soar effortlessly above it all, is reminiscent of The Bends era Radiohead. Later, there’s a triple feel to drums towards the end (I’m unsure if this is an added effect or just incredible playing), giving way to a less busy section that allows the band to really open up with reverb drenched crystalline guitar lines.

Tall Grass, the single of the album, is another moody track that features intense builds with busy drums that are hidden from sounding intense by layers of swooning guitars and violin. Jeff Buckley seems to be a major influence on this track (and the whole album perhaps), with powerful crescendos with energetic drums and precise playing. While Tall Grass is an obvious choice for a single in an album filled with gorgeous songs, next track Real Love is much the same, in that it showcases pulsing drums, emotional singing, with guitars and violin lines delayed and reverberating nicely in the mix.

To contrast this expansive sound, Colours In The Sky begins with a softly, throaty strummed guitar that brings the listener close rather than the spacious sounds that have come earlier, but soon this gives way to a gentle swaying rhythm complete with all the instruments present, creating another lullaby with incredible vocals. Whispers begins with an unusual electronic beat that seems to be at odds with the familiar beats of the earlier songs, but somehow this also melts into another charming song despite having a few tricky time signature changes. There’s a great heavily effected echo at the end to keep things playful and experimental.

Heartless is a folk tinged tune and for me, is the standout for the album. Here, the band performs with more passion than on other songs, even getting rather heavy in places. Hanan sings with unbelievable control, performing vocal gymnastics above the jazzy drums and ethereal violin. “I wish I wish I wish that you could stay,” he sings with passion, asking rhetorical questions for an unrequited love: “How can I justify fighting for the feelings that you lack, If only I could nullify the beauty in your eyes but I can’t”.

Blank White is a beautiful, sophisticated gem of a song featuring an incredible build, and then, a guitar break, offering a chance for the band to really express themselves and Axton to shine. Sure to go down well live! Album closer St John features an interesting chord progression that could have come off a Thom Yorke solo project. It’s minor sounding to the point of the theatrical as Hanan sings passionately, “there’s tears in his eyes, I hear descriptions I despise”. The band builds once more, offering another chance for the guitars to wail some blues, before the song enters a spoken word section with piano. Stunning piano arpeggios swirl around the building vocals as Hanan begs and pleads: “take me as I am”. Some synths enter the heavenly crescendo, complete with a surprise chord change at the end to create a classic cadence.

Hush is overwhelming in places, understated in others. It strikes a great balance, making use of all five members to produce an unforgettable and erudite debut album. Incredible performance, produced and mixed to allow all elements shine. Beautiful.