At least superficially, ‘Painted Shut’ could be a simple affair. Hop Along’s set-up is far from revolutionary, presenting a four-piece with a penchant for folk inspired storytelling. Yet the Philadelphian quartet, led by the immediately enchanting Frances Quinlan are far from ordinary. Potentially due to Quinlan’s dedicated history in music – Hop Along began life as Hop Along, Queen Ansleis over ten years ago – ‘Painted Shut’ is an album of genuine substance.
This substance presents itself more through Quinlan’s quirky vocal stylings and bluntly honest lyrics than in complex instrumentation, yet the unsettling juxtaposition between the minimalist guitar work, reserved percussion and dense themes leads the way; be it one of concept or one of autobiography. A notable proportion of ‘Painted Shut’ discusses unappreciated art, whereas the likes of single ‘Powerful Man’ proves far more personal. In structure and theme, Hop Along’s sophomore album proper follows folk etiquette to intertwine stories and myth for generations to come.
It is this enchanting and unsettling atmosphere that underpins the record. The often whimsical melody and vocal stylings clash with the record’s sensitivity in a particularly beautiful way. It’s just as easy to listen to ‘Painted Shut’ as a soundtrack to a summer’s afternoon as it is to become lost in its lyrical intricacies. Through both, it’s impossible not to become entwined in Quinlan’s equally reserved and shrill vocals, such as on the downtempo ‘Happy To See Me’.
Whether Hop Along are playing atmospheric ballad ‘Horseshoe Crabs’, guitar driven pop numbers ‘Buddy In The Parade’ and ‘Waitress’ or the superficially whimsical ‘Powerful Man’, they do it with understated brilliance. ‘Painted Shut’ is as enchanting as it is challenging, pulled together by Quinlan’s unique and honest vocal delivery.
BEN TIPPLE