Listen to Hunter.
It’s a command. A request.
The title of the new album from Hunter, coming out on April 13th.
It’s windy outside.
Like, end of the world windy.
I expect to see a skeleton on a pale horse riding through the gusts.
Inside, it’s calm, and Hunter is playing in my headphones.
Unlike their debut album, LISTEN TO HUNTER sounds like it’s more about Hunter the band, than Hunter the singer,
Her vocals are still there, don’t get me wrong, but as a band they sound tighter, like they are beginning to find their groove as a whole.
I may be wrong but it feels like the songs were written as a band – it’s replaced the rawness of their debut with a matured cohesion.
The wind howls, I close my eyes, and I imagine a small, New England local pub with a young PJ Harvey singing.
Especially the song that closes out the album, “Ballad of An Enigma.”
It encapsulates the sound of the album – a small, local 90’s band that plays from their emotions and tries to connect with their audience.
The song writing is tight, but with the gentleness that comes from soul-searching and honing craft.
“The Queen of the Tree Streets” comes on, sounding like the love child of Natalie Merchant and early 2000’s Cranberries.
Where the first album was raw, this album is giddy, with a sweetness undertone that can make you grin when Hunter sings “I’m so sorry I used to be such a bitch.”
This album pulls them from rock to an almost singer/songwriter sensibility.
Drum and vocal heavy, pulsing and upbeat.
My windows rattle and “Good Deed of the Day” starts, the vocals reminding me of the jam bands that are so popular amongst liberal arts students – that kind of snarky, smile through a sneer, ironic lyrical jabs that seem to have drifted away from music on the wind.
Hunter’s sophomore album is what you get when a band gels and becomes a singular unit. It’s not Hunter and her band. It’s just Hunter the band, now.
They are mature and tight and definitely on the right track.