Review Summary: Don't mistake her for the wind when she howls
Ha Vay is not a name likely to surface in daily discussion of music. The half Chinese, San Francisco based musician – who goes by the name her grandmother gave her, in something of a Cantonese dialectic offshoot – had only released one EP prior to this week, which saw her release her mesmerizing, naturalistic debut
Baby I'm The Wolf. New artists spring up every week, and since the advent of streaming services, it's become easier and easier for promising young acts to fall between the cracks before they're even witnessed. Instant recognition takes talent, of course, and a whole lot of luck – but it also requires an element of surprise. That's something that Ha Vay's debut possesses in spades. It's this fantastical, gritty, siren-esque experience that resides somewhere between the dreamy ruminations of Zella Day and the forceful, sweeping catharsis of Florence and the Machine. Whenever you think that the music is ready to settle into a comfortably familiar indie-pop groove, Ha Vay proves why she's one of those rare artists who is simply built different. It's as she sings on the album's title track: "You think you’ve caught a lamb...But baby, I’m the wolf."
The record glides in on the gentle acoustic plucks of 'Ophelia', a gorgeously swelling folk ballad that slowly drifts towards transcendence, with her angelic vocals and empowering lyrics on full display: "Screaming in the wind so, her secrets soar off in the thunder / Free from the burdens that hold us under." The character of Ophelia – conveyed as this independent, carefree, yet strong-willed woman – gives us a powerful and instantly relatable female protagonist who navigates the beauty and perils of the wilderness. Perhaps in some ways, Ophelia could even be seen as a symbolic reflection of what Ha Vay keeps inside, or who she wishes to be...her own inner wolf.
Baby I'm The Wolf pivots between the utterly hypnotic and ethereal ('Nature's Bride', 'Angel! Wild! Superstar!'), sinister but enchanted alt-pop tunes ('Pretty Baby', 'Vampires'), and more instrumentally structured tracks that toe the line between folk pop and indie-rock ('Fragile', 'He Wants The Rain'). There's nary a misfire here because
Baby I'm The Wolf is buoyed by Ha Vay's incredible voice, but the best moments clearly come when she loses herself in the music and allows herself to get weird. 'Moon Girl' is the clearest example of this, with its eerie wind chimes and playful howls that lead into the confident guitar strums which drive the song's tempo. Ha Vay also lets loose lyrically, pleading, "Won't you take me as I'm meant to be / Wild, wild / Don't mistake me for the wind when she howls." The title track is another glowing highlight, as Ha Vay showcases her complete range in a swirling storm of her highest pitches that is both haunting and spellbinding. You'll enjoy Ha Vay when she's on cruise control, but you'll fall head over heels when she steps into her craft with confidence and authority.
Baby I'm The Wolf offers us a combination of seasoned songwriting, courageous detouring, and sparkling production that is quite rare for any debut album. The record is rooted in femininity, but roars from the confines of what's often kept inside. It's a beautiful piece that also has the courage to seize the moment. It can be difficult to discern what will and won't get caught in the updraft of popular opinion, but regardless of Ha Vay's future level of recognition,
Baby I'm The Wolf marks an important debut. It's aesthetically stunning, lyrically expansive, and atmospherically unique. We've had Florence, we've had Lana...enter the wolf.
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