While in Blacklisted, George Hirsch is a visceral force of anger and misanthropy. He also has another side to him, which he showcases under the persona of Harm Wülf. While his second album, ‘Hijrah’ is in keeping with his bleak worldview that is screamed through the powerful music that Blacklisted create, it is more exposed when stripped back to predominantly just Hirsch and an acoustic guitar.
On the debut Harm Wülf album, ‘There’s Honey In The Soil So We Wait For The Till…’, Hirsch appeared to be finding his feet as a solo musician. It was still a strong record, however on ‘Hijrah’, he has found the confidence he was so clearly searching for. There are delicate, tranquil passages that are carried by lightly strummed minor chords, providing a haunting backbone to the gravelly vocal tone of Hirsch. There is also far more instrumentation this time with the help of Jon Nean (Blacklisted) and engineer Arthur Rizk (Inquisition, Prurient), adding sparse bass and percussion to give the record extra depth.
‘Hijrah’ sounds tormented throughout, maintaining a brooding, desolate atmosphere. The distorted neo-folk of ‘Descend, I’ve Been Waiting’ lurches for over six-minutes, and sets the tone for the album perfectly. Each track gives you the impression they are waiting in the darkness, peering through the cracks of a door and looking disdainfully at the outside world.
The influence of bands like Low, Nick Cave and The Bad Seeds, Roky Erickson and The Cure shine through on ‘Hijrah’ and as Harm Wülf, Hirsch is no less dark than his peers. ‘Put The Kettle On (They’ve All Gone Away)’ is an introspective tale, which features a sample from ‘Legend’, and hearing the voice of Tom Hardy as Ronnie Kray proclaim “Did you know that it’s possible for a person to become a ghost while they’re still alive” compliments the mournful narrative of the album perfectly.
Owing to the sullen nature of ‘Hijrah’, it will not be an album that is easy to digest for just anyone. Even the most angry Blacklisted fan my struggle with the morose ‘Warm Snow’ as Hirsch croons “There’s an evilness deep down inside you.” However it is an album worthy of invested, particularly when you reach the slow burning, ethereal ‘Hiss/Hum’ that brings it to a close.
When you fully immerse yourself in ‘Hijrah’, you find that the window into his mind that Hirsch has left open becomes inviting. It may not be the most uplifting of listens, but the vision of Harm Wulf has been fully realised, resulting in a cathartic, emotional journey.
GLEN BUSHELL