On October Seventh, alternative artist Hozier released “Swan Upon Leda,” the haunting first taste of his upcoming album “Unreal Unearth.”
Good folk music tells a story – sometimes about yourself, sometimes about others. From Bob Dylan’s “Blood on the Tracks” to Joni Mitchell’s “Clouds”, the “point” of folk music has been to tell the truth about something, to commit it to the public record. In “Swan Upon Leda,” Hozier tells the story of a young girl forced to give birth. In Greek mythology, the god Zeus commits horrific violence against Leda for becoming the Queen of Sparta. Hozier holds this myth against current cultural events like protests in Iran and the overturning of Roe v. Wade, and brings the story’s relevance to a new and startling light.
In an Instagram post, Hozier cites Egyptian journalist and author Mona Eltahawy as inspiration, who referred to the global systems that control and endanger women as the world’s “oldest form of occupation.” “Swan Upon Leda” follows a long tradition of protest songs (“Formation” by Beyoncé, “This is America” by Childish Gambino, “Ohio” by Crosby, Stills, Nash & Young, etc.) Hozier writes with a quiet rages, yet somehow brings gentleness to violent lyrics with his mellow tone.
The ability to turn pain into poetry has always been Hozier’s strong suit. Look no further than “Cherry Wine,” a stunning track off his debut album which recounts an abusive relationship. At first listen, “Cherry Wine” can be interpreted as peaceful with its acoustic guitar and birdsong. When you register the lyrics, it’s hard not to be left in awe of the suffering packed so seamlessly into a nonthreatening melody. After reading just one verse, it is impossible to deny Hozier’s gift for lyricism:
Her fight and fury is fiery
Oh but she loves
Like sleep to the freezing
Sweet and right and merciful
I’m all but washed
In the tide of her breathing
“Swan Upon Leda” follows a similar formula; the opening verse’s shocking lyrics are somewhat muted by soft instrumentals and vocals:
A husband waits outside
A crying child pushes a child into the night
She was told he would come this time
Without leaving so much as a feather behind
To enact, at last, the perfect plan
One more sweet boy to be butchered by man
Soon after the first verse, however, the music begins to build on itself. Vocals are layered on top of each other, creating an echo effect. The tone of the song alternates between soft and intense. At times, it sounds almost religious. It follows musical themes Hozier has explored in the past, yet builds on them in a way which promises growth in “Unreal Unearth.”