It takes a determined person to carry on
working through the devastating aftermath of a house fire. It takes something
more than determination, to record an upbeat song called Bad Luck the
day after the event, in a country thousands of miles away from the home you’ve
just lost. Yet, this is what Neko Case did during the production of her latest
album Hell-On. The album’s cover features a picture of Case, on fire
herself, wearing a wig made of cigarettes and she even went on to film a video for the song in a studio set
depicting a burnt out living room. In interviews since, Case has been
philosophical about the fire, noting that the people and animals she loves are
all safe and that her lost possessions are just “stuff”. Case reserves her ire
for other, more deserving targets a point she hits home time and again on her
new album.
Case’s
feminism is very much to the fore in this album and her always poetic, often
enigmatic lyrics both uplift the women who have influenced her and detail some
of the many injustices borne against both herself and woman kind in general. One
example of this, Halls Of Sarah, may also be the best song Case has
written in years. “Sarah”
is an avatar for the countless women who have been used as muses and “inspiration” by artistic men only to be
silenced and dehumanised in the process, whilst female artistic voices have
been simultaneously ignored. Moving from tender alt-country to brilliantly
anthemic pop-rock, Halls Of Sarah is an absorbing and layered piece of
production work and songwriting as well as a powerful social statement.
Hell-On
isn’t all, big picture commentary, there is still room here for some more
personal stories. My Uncle’s Navy for example chronicles one man’s cruel
bullying of Case as a child. Through waves of deep, chorus drenched guitar,
Case’s voice doesn’t betray much anger, though her lyrics tell another story. The
line “I hated those who gave him access to our days/ the ones who did nothin’/
I still can't love them” which presumably refers to her estranged parents, is
delivered with a calmness that renders the emotion in those words even more powerful.
On songs such as Furnace Room Lullaby from the album
of the same name, Case has managed to capture a ghostly, ethereal quality that
is both compelling and chilling and demonstrated her impressive knack for
writing dark, eerie songs. Hell-On’s title track, which opens the album,
has some of those qualities and whilst it may not have the same creepy,
darkness as Furnace Room Lullaby, Hell-On is a powerful opening
statement. The tense, creepy-carnival-esque glockenspiel at the start gives way
to Case’s strong, yet soft vocal over a singular strummed guitar. This simple
arrangement easily grabs your attention, purely because of how powerfully stark
it is.
As she has done with previous albums, Case surrounded
herself with trusted collaborators for the production of Hell-On. Laura
Veirs and K.D Lang, with whom she made 2016’s case/lang/veirs, make an
appearance as does her New Pornographers bandmate A.C Newman. A standout
addition is Mark Lanegan on Curse of the I-5 Corridor, which lies
somewhere between backing vocals and a duet as his and Case’s voices weave in
and out of each other. On Sleep All summer, a Crooked Fingers cover,
Case enlists the help of the song’s composer Eric Bachmann. This slow, sad duet
is a standout on the album though interestingly, it has more in common with the version recorded by The National and St Vincent a few years ago, than
Bachmann’s original.
Neko Case’s reputation as a musician has hinged primarily
on her voice. It’s certainly a remarkable instrument and its qualities are
almost unique in contemporary music, though I feel it can often overshadow her
talent as a songwriter and a producer. Hell-On, however proves to be a showcase for both those skills, with
Case’s production choices and arrangements complimenting the songs beautifully.
It’s an album that could only be made by someone with a strong idea of what
they want to say and the hard-won understanding of their own work and voice
that comes with experience. It’s clear that Case has put all she has into this
record, even at times where not doing so would be perfectly understandable. The
result is a strong and compelling album that demonstrates just how talented Neko
Case is.