For those of us used to the giddily energetic electro pop of Hemlocke Springs' debut EP, Going, Going, Going... gone!, opening track 'the red apple' comes as something of a surprise.
It signals, more than anything else on this album, that there are hidden depths at work and that her craft and ingenuity extend far beyond the ability to write memorable earworms such as the TikTok favourite 'Girlfriend' (not that there is anything wrong with 'Girlfriend' of course...)
'the red apple' marks the opening of what has been described as a 'concept album' reflecting on Isememe Udu's growing up in North Carolina and her cultural background as the child of "devoutly Christian Nigerian parents" It is sparse and pared down, showcasing the simple purity of Springs' vocal.
This sparse thoughtfulness soon gives way to slightly more familiar musical territory via 'the beginning of the end', which opens with the arresting line "Sometimes I think I should avoid the simpleness of filling holes with opioids" before going all in on the kind of inventive, restless, glitchy electro pop she's best known for. It then ratchets it up a notch into something altogether more muscular via the use of heavy guitars. The result is exhilarating to say the least.
'hands, shoulders, knees and ankles' meanwhile bounces around like an early (but weirdly angry) Gwen Stefani trapped in a giddy Alice in Wonderland multicoloured world before seeming to crash in on itself and implode in a splintering of rainbow shards. It then picks itself up again, dusts itself off and re-starts itself as the kind of demure, highly mannered, orchestral pop you might find on the soundtrack to Bridgerton, albeit without the lyrics 'Hell we can break his arms together'. All in just over three minutes.
'w-w-w-w-w' begins taut and Prince like before taking a hard swerve into unabashed glitchy electro pop with the kind of irresistible big chorus and hook that made 'Girlfriend' such a massive cult hit. As well as shades of Prince and the Revolution, it also nods briefly to Archandroid era Janelle Monet and Control era Janet Jackson before quickly casting aside all three and becoming resolutely its own thing. Tremendous.
The fast and furious beats underpinning 'Moses' feel very 90s techno, giving a more muscular dance feel to what is essentially a high energy pop song. 'Sever the blight' meanwhile, as one of the older songs on the album, feels closer to the songs on Going, Going... gone, but it's at times ethereal at other times bouncy (Kate Bush vs Le Tigre if you like) pared down 80s electro pop fits perfectly here.
There is further sonic experimentation on the textured mood setter 'sense is (prelude)' while 'sense (is)' goes big on 80s synth pop with the kind of dark mood and taut vocals that would pair well with Allie X's most recent album, Girl with no face. Now, that is a tour I would like to see...
'set me free' opens with a strangely satisfying, echoing call before heading into smoother r'n'b flavoured pop territory. It is gently anthemic while more restful than previous tracks.
This all too brief album closes with the cathartic upbeat, unabashed electro pop of 'be the girl!' which sees Springs reflecting on her younger self while also acknowledging that she has come a long way and isn't that person anymore. It's a fitting end to an album of experimentation and exploration, one that demonstrates the sheer fearlessness of Springs as an artist.
Further works will be very eagerly anticipated.
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