Hannah Lew – Hannah Lew (Album Review)

Hannah Lew’s solo endeavor, marked by her self-titled album release is synth-pop at its best. Everything is used sparingly: from the minimal beats to the electronic arrangements—I have to admit the decision to strip everything down to its barest potential seemed to be a good call. What you get are some truly startling moments. The album is a direct throw-back from the ‘80s era. I was reminded of groups like Beach House and the ‘80s band, Blondie. In fact, Lew’s vocals immediately recalled in my mind instances of Debbie Harry.

Before embarking on her solo career, Lew had played a vital role in the groups Grass Widow and Cold Beats. It wouldn’t be such a surprise for Lew to draw influences from her previous projects, but at the same time, I had the feeling that Lew really owns her sound here with this album. In the notes of her Bandcamp page, it is stated that the cover of the album is of a photograph of the artist ripped up and reassembled. This process notably points to how she formulates her own identity through the assemblage of this album—from putting together the arrangements and writing and performing the songs herself based on pure instincts alone.

Right off the bat, there is a wall of sound on the opening track, “Time Wasted.” Drum machines fill this track, and once the sound settles in, you’ll be encased by Lew’s hazy vocals. The atmosphere is dream-like. The synths and Lew’s “ahhhhs” work together to create a beautiful soundscape. Awash with ethereal notes and sensual beats, I felt myself drifting alongside the music. Live instrumentation also helps anchor the track. Embedded into this song are guitar riffs that add a sonorous layer to the overall sound.

Lew is able to insert her personality into each and every one of these tracks. Each track on this album could stand alone as its own work of art. I got that sense as I listened to the rest of the album. There was something subliminal about the next number, “Sunday.” I was reminded of Tears For Fears’ famous hit, “Mad World.” There was something so solemn and precious that recalled in my mind the other track. Lew’s heartfelt vocals are at the center of this song as she sings with feeling. Awash with emotion, the sounds on this track definitely stood out to me.

Despite the electronics resonating with me for the most part, I couldn’t help but feel that natural drumming could’ve helped the recording better. The drum machines felt too generic to my ears. When listening to this record, the drum machines weren’t a big hit for me. However, everyone has different tastes, and while it didn’t work for me, it might for some others. That is just my opinion.

“Another Twilight” is another haunting track. Lew delivers some of the album’s strongest moments here. “Siloed,” stands apart for its spectacular guitarwork. While listening to this song, I felt myself being drawn to the live instrumentation the most. Lew’s vocals also left me entranced.

“Replica” is an airy number filled with moody elements. String synths are incorporated to add to the airy vibes. The indie and synthpop notes directly recalled a distinct ‘80s vibe here. This seemed to be especially true for this track, which gave a nostalgic feel almost all at once.

On “Damaged Melody,” demanding beats and loose synths make up the majority of this atmospheric song. Lew’s breathy vocals also add a layered dimension to the vibes. Fraught with mood and a somber melody, this track proved to be one of my favorites. The dynamic quality, as well as the dramatic way the song plays out, panders to my penchant for theatrics. This was a rather dark track—something I haven’t seen before. On the previous tracks, the melody and tone have been light. This departure toward the latter part of the album left me captivated. Personally, I felt more drawn to the darker songs than the lighter ones, for I felt they had more atmosphere and range.

There’s more of that drama I was telling you about on “Move In Silence.” Lew sings (“There’s a war outside”). Her rich, breathy vocals paint a picture of unrest amidst a war-ridden landscape. I liked how raw the lyrics and her vocals were. The dark electronics riffs in the background also helped paint a somber picture.

The closing track, “The Clock,” has a pensive vibe. It shows the passage of time with lyrics like (“I’m suspended in a thought”) and (“I tried to pass the time/Moving faster to forget”). What was so unforgettable about this track is its melancholic tone, which made me think of goodbyes and endings. This seemed to be an apt closer to what overall seemed to be a dynamic record.

This is a raw and honest collection of songs. Personal and filled with self-reflection, this is a sensitive record without a single filler song. Each track stands alone as a single, and you get the sense that the artist has put her heart and soul into each track. This shows in every little detail of the album, displaying Lew’s range and versatility with every memorable note.

Score/Good: While everything really came together to make this record work, I thought Lew depended too much on synthetic applications like drum machines. I would’ve liked more organic instrumentation. Perhaps live drums would’ve worked better here. That is my only critique, and the only reason why it isn’t an ‘Excellent’ or ‘Outstanding’ album. Altogether, this was an irresistible work of art, filled with raw sensitivity missing from most of the music out there currently.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

Follow Hannah Lew on:

Website

Instagram