Review Summary: Neko Case's latest offering is another superb album that boasts her musical abilities and consistency.
The Earth keeps on spinning and Neko Case yet again releases another phenomenal album that, somehow, manages to slip under the radar. I'm not sure why that is, but it doesn't seem to bother her, and perhaps it's that very anonymity that enables her to be as consistent as she has been throughout the entirety of her lengthy career. There's no external pressures, though it's clear that her music comes from the very depths of her soul, and Case confidently goes about her business, this time embarking on her longest journey yet.
Hell-On seemingly follows in
The Worse Things Get...'s footsteps as it's arguably just as personal, and if it doesn't quite reach the heights of her previous effort released five years ago in that department, then it's uncontestedly the runner-up. This is in large part because prior to this more personal approach, lyrically speaking, Case often relied on utilizing creatures in her metaphors to communicate effectively. This approach has (mostly) been abandoned, though her penchant and concern for animals is certainly still there, as seen in "My Uncle’s Navy,” where she relates a heartbreaking memory of an uncle who ripped the heads off of garter snakes. The song is easily one of the most meditative to be found on the album as well, as she reflects on just how painful and powerful some memories can be, "these memories are bitter in mood / i'd cut them out myself if that were possible / kind you cry yourself blind about / kind that choke you out, choke you out." This type of direct lyricism is welcomed, as Case's meanings are now both free of any pretense and no longer obscured, thus ultimately being more relatable. Case continues to show this more vulnerable side of herself with "Curse of The I-5 Corridor," where she sings, "so I left home and faked my ID / I ***ed every man I wanted to be / I was so stupid then," and, "baby, I'm afraid / but it's not your fault / maybe I should go / home along tonight." The former line being strikingly reminiscent of a previous line found on her 2006 album
Fox Confessor Brings the Flood, where she sang, "compared to some I've been around... / in the end I was the mean girl / or somebody's in-between girl" on "Hold On, Hold On." Case has always written about love and relationships, been unashamed and candid about it, and "Curse of the I-5 Corridor" just might be her best when regarding those themes and is easily a standout on the album.
As strong a lyricist as Case is, it's her voice and songwriting abilities that often impress the most. There's little denying that she's improved over the course of her career, and
Hell-On continues this trend as it provides some of her best vocal performances yet, along with some of her most complex songwriting yet. Not only does she manage to create a haunting atmosphere on the albums titular track when she effectively uses her preternatural voice and sings, "don't you tell me i didn't warn you / that that's some gravity you ought not to play with," backed mostly by soft guitar playing to further augment the sinister atmosphere while letting her voice take center stage, but she then swiftly transforms the song into something utterly beautiful when she sings, "nothing quite so poison as a promise," as the full band kicks into swing and the song completely changes gears, sonically speaking. This chilling atmosphere largely recalls the sound found on her proper debut
Blacklisted, but here her vision feels more realized as Case is now capable of taking her songs in different directions while still holding it all together so that it sounds like a cohesive whole working together. However, if
Hell-On takes any cues musically from her previous efforts, then its sound is primarily a progression of
The Worse Things Get.... This is due in large part to songs such as "Bad Luck," easily the most fun track to be found here, as it rocks and goes about similarly to another one of her best tracks "Man." but
Hell-On is impressive in its own right because though case clearly draws from her past, it still sounds unique. Songs like "Last Lion Albion" and "Halls of Sarah," though clearly still very much guided by what Case does best (i.e. utilizing her powerful voice to its full potential and creating memorable melodies), sound fresh and further what case wants to accomplish with her music.
Hell-On might be destined to go relatively unnoticed this year, but it's another superb addition to Neko Case's already glowing catalogue of work. As is to be expected, Case's voice is the highlight and the way she sings so purely, so effortlessly, undeniably adds to each song and makes for a high replay count. Mix that with great songwriting ability and thoughtful lyrics, and it's a recipe for success. But if
Hell-On proves anything, it's that Case is a master at fine tuning her sound, that's she's not afraid to progress, all the while remaining one of the most consistent artists out there.
