Search The Line of Best Fit
Search The Line of Best Fit

Newfoundland's Weary are raw, reflective, and relatable on Hush


Release date: 12 August 2022
Weary hush art
15 August 2022, 00:00 Written by Adam Wright

Toying somewhere between a self-help guide and an inquiry into the self, Weary’s sophomore record Hush adds a rawness to the subtle nature of its predecessor. With moods as reflective as they are relatable, the album endeavours to make sense of the modern world.

Coming five years after their last album – Feeling ThingsHush’s rougher edges are a development of the band’s sound. The core sound occupies the space between a multitude of genres; creating a modern blend of alt-rock and folk that seeks to make the middle ground its own.

Much of the album is based around the investigation and dissection of individual emotional processes, with two of the record’s singles doing so most poignantly; “Retreat” focuses on the lasting effect that trauma has on the mind (“make routines and projects/but I realise the fear’s in here”) while “Trust” centres around the importance of trusting one’s self (“Am I claustrophobic or just afraid of trust”). The inquisition of the mind’s longest harboured feelings is woven deep within the record and allows a journey of learning to take shape.

The songs jostle with the emotions they examine, trying to come to an understanding of each of them; an approach that adds both a distinct relatability and a sense of cohesion to the album as a whole. Each of the songs seem to perform their own separate task within a bigger body of work, furthering the impression that the record is based on a journey of self-discovery and acceptance.

Musically, Hush reflects its introspective subject matter. Rough-sounding guitars and a present rhythm section are juxtaposed against silky vocals, which culminate in a soft yet insistent bed for the lyrics to rest on. The combination of sounds adds credence to the lyrics themselves and provides them with a suitable vehicle. The vocal’s texture evokes that of Angel Olson and Sharon Van Etten (“Alexander; “Scraped Knee”; “Broken Window”) while the album’s heavy use of electric guitar tones nods in the direction of Courtney Barnett. (“Order”; “Party”; “Twin Flame”). The result is a cohesive body of work that remains focussed in its aims.

Though the simplicity of the instrumentation frames the themes of Hush nicely, the reliance on electric guitars does, at times, make some tracks feel like they’re lacking. “Body” for example seems to be held back by its minimalism, and never really finds its stride. Similarly, “Beam Me Up” teases a crescendo that never comes, which leaves the track wanting.

Hush shows the Newfoundland group to have developed significantly in the last five years. It transforms the subdued sound of its predecessor and sets the band down a new path. A path that could prove fruitful in the coming years.

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