I first saw Hinterland on December 12, 2004, as they opened for Faith and the Muse at Sonar in Vancouver and was blown away by the stage presence of both the lead singer, Michaela Galloway, and her band mates. MichaelaÕs tiny frame didn't prepare me for the power of her voice and the four handsome gents who accompanied her on stage meant business as they delivered an hour of heavenly music.
Faith and the Muse were incredible, but what made the show so memorable for me was Hinterland. You always know when you see a band that's destined for greatness and Hinterland is a force just waiting to be unleashed worldwide to critical success and fan based hysteria and adoration.
I heard the band say they had an album for sale but they vanished quickly once their set was over. So, I wrote to the band and said I'd love to do a review of their work and, lo and behold, they sent me a pile of goodies. I have to tell you: not only do Hinterland deliver live, their first studio album Under the Waterline is magic. We're all looking for a voice to believe in. Morrissey had it for The Smiths, Robert Smith has it for the Cure, Marty Ballantyne has it for Breach of Trust, PJ Harvey has it for, well, PJ Harvey. Right up there for voices who awe me is Michaela Galloway. She has it for Hinterland - no doubt about it. I find her voice both hypnotic and healing. The band is fantastic and there's a harmony the group reaches throughout the album that will leave you staring blissfully into space for days after you've had a listen.
As I listen to Under the Waterline, I keep thinking, "Where have I heard this music before? Where have I heard this voice?"
These are dangerous questions for a band who's just released their first album, but I have a point. Hinterland was inspired by many bands and I'm guessing they were The Cranes, Slowdive, Sarah McLachlan, The Cure, and My Bloody Valentine - to name a few. Listen to the opening track "wasntevenwinded" and you'll swear that's a Cranes' opening. But when Michaela Galloway starts singing, look out: Hinterland takes off on its own glorious path. Michaela Galloway's range can go as high as Kate Bush's, as deep as Alison Shaw's from the Cranes, and as low as Sinead O'Connor. She's got this siren-esque medicine that can lure you anywhere she wants to take you and you'll go willingly--believe me. What's also magnificent about Hinterland is the majesty of Michaela's lyrics. Courtesy of the band, here they are for every song:
The second track, "lethe waters", is all theirs. No comparisons here and now's the time to introduce the band: We've got Kyle Fogden on guitars, keyboards, bass and omnichord; Michaela not only sings, she plays the flute, the oboe, keyboards and percussion; John Lucas plays guitar, baritone guitar and bass; Cameron McLellan plays bass and guitar and Greg Steffensen plays drums and percussion. The producer of the album, Jonathan Anderson, joins the band with lap steel, guitar, banjo, keyboards, vibraphone and percussion. And what a superb job they all do.
Here's the lyrics:
"Low low light" begins and it's just dreamy. Feel that beginning wash over you like holding your child for the first time. No wonder fans kept yelling out for it when Hinterland came out for their second encore. It's a Cocteau Twins introduction with Michaela elevating us to angelic heights with her voice as she swims from the depths to heaven above and carries us in her wings all the way. Wow. What a song. I love the guitars in this song. Very slidey and wondrous! Sarah McLachlan used to be able to take her voice this high in her earlier work--namely her "Touch" album--but Michaela does it effortlessly. This is where Hinterland sounds a bit like Kate Bush's earlier work but they take the song where it wants to go and they take their sweet time doing it. This song could go for days and I wouldn't move. Bravo!
"Aspidistra" is another lovely tune that opens with Michaela playing the flute and launching into a mesmerizing melody. This track where I think Michaela sounds like Sinead O'Connor at her best and takes the song higher with her very own grace.
Here's the lyrics:
"Portrait of my invention" begins like a Sarah McLachlan song and transforms into a song that will pull you into dreamland and run you off the highway if you're not careful.
Here's the lyrics:
"Heavy-eyed and hiding" is a slow beauty of a climb that's both pretty and seductive and Michaela takes her time here to dance her voice softly over your ears. I like how the band slowly increases its "rock out" factor to a controlled frenzy and I'm hoping on their next album they give 'er. I know they have to hold back for this one, but they have the capabilities for a berserker rage and I'd like to be there when they snap(!). I love the instrumental at the end of the song. It's spooky and sexy all at the same time.
Here's the lyrics:
"Red-light camera" sounds and feels like a Gaelic prayer sung on the lips of several women and there's an innocence here that's reaching for something sacred. Wow . . .
Here's the lyrics:
"Tiger Tiger" is the one song that I can't compare Michaela's voice to. It's the most delicate of all the tracks on this album and it's flawless. Listen to it and enter the realm of the Siren. Listen to that incredible ending!
Here's the lyrics:
"Divebomb" is the perfect track to end on as it starts with synth magic that lingers throughout the song as Michaela's voice swoons and rises until the very end.
Here's the lyrics:
I always feel like I'm climbing something when I listen to Hinterland, and I realize, after twenty full listens to the album, that I'm climbing to a peace that only great music can bring. Way to go, Hinterland. You're well on our way to heights you can't even imagine because we all know when we are in the presence of a band that has something precious and you have something very beautiful here. Don't stop!
For more information on the band, please check out www.hinterland.bc.ca
and http://hinterlandbc.blogspot.com. The band's e-mail is