Each Measure Feature: Hans Halstead
FEATURE
Right from the start, Hans Halstead can hardly catch a breath at the opening of the new album “Everything Was Better When It Was Worse.” The first track, Six Feet Under, is a stream-of-consciousness outpouring of the overwhelming pressure, demands, and dark desires of the elusive “they.” A compelling entrance to the album, every song after hardly disappoints with catchy hooks, quirky instrumentation, and a few crunchy rock’n’roll moments, all guided by his clear, mellow voice.
This is Halstead's heftiest release to date, a twelve-song sprint that has me picturing the massive mine of writing he must have been in. Overall the album reaches a synchronous unity as almost an homage to his roots in Minnesota, the obvious shout-out in “Sunsets in Duluth,” distilling the feeling of thinking in feeling in the spacious midwest. Hans gets personal in each track, exploring the synthy throes of love (Say You Won’t, Say You Will) and stepping into the more daring territory of questioning morality (Is It Wrong?) and the confusing process of grief (Day of Love). The range of themes is grounded in his relatively untouched vocals, his register a welcome update from some of those early 2000s emo bands by blending with a more Bob Dylan-esque lilt. My personal favorite, The American Dream, sums it all up with its cheery swinging melody and steady roll of clever sardonic lyricism.
A variety of themes is not only present in the writing. While mostly guitar and keys led, the album features many audio treats, including a cello, saxophone, and was that some harpsichord? This album is far from samey, keeping it eclectic enough to keep listening to the song and consistent enough to keep listening to the whole album. One song is a peppy garage band, the next a nostalgic Americana; Hans Halstead wants to do it all! What’s exciting is that this doesn’t seem to be an identity mix-up, but instead a return to original creativity, proving that no artist can ever fit in one box.
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