Music and literature have always held a profound place in my heart. Few artists, however, manage to weave these seemingly disparate worlds together as skillfully as Hozier does in his latest album, Unreal Unearth. Released in August of 2023, the album became an instant favorite, building upon the momentum of his critically acclaimed album from the previous year. Our Irish boy cooked and released the EP this March inclusive of tracks like "too sweet", drawing inspiration from Dante Alighieri's epic poem Inferno. Hozier masterfully navigates the themes of Dante's descent through the Nine Circles of Hell, blending them with motifs of love, heartbreak, and finding beauty in both darkness and light. The result is a sixteen-track masterpiece that explores the human condition through a unique musical lens.
For those unfamiliar with Dante Alighieri's epic poem, Inferno, it serves as the first part of his Divine Comedy. The poem chronicles Dante's descent through the nine circles of Hell, guided by the Roman poet Virgil. Each circle represents a graver sin and its corresponding punishment, leading Dante deeper into damnation. Through this journey, Dante explores themes of sin, redemption, divine justice, and the human condition, creating an allegory of the afterlife based on Christian beliefs. Notably, Hozier structures Unreal Unearth around this very journey. This essay aims to delve into Hozier's lyrical and musical choices, revealing how he utilizes Dante's framework to explore his own thematic concerns.
De Selby (Part 1) and De Selby (Part 2)
The thoughtfully crafted lyricism and layered soundscapes of Unreal Unearth begin with the intriguing two-part opener, "De Selby (Part 1)" and "De Selby (Part 2)." Although not directly tied to Dante's Inferno, these songs establish thematic groundwork. De Selby, a character from Flann O'Brien's novel "The Third Policeman," believed existence was a series of fleeting moments. This fragmented concept resonates with the fragmented nature of the afterlife depicted in Inferno.
Sonically, "De Selby (Part 1)" is a mysterious soundscape, its eerily soothing quality achieved through a slow tempo and melancholic piano chords. Hozier's voice acts as a lone guide on this descent, singing of emptiness and loneliness. The Gaelic outro, with its reference to "blackness of air," foreshadows the album's exploration of darkness. The quoted line, "At last, when all of the world is asleep / You take in the blackness of air / The likes of a darkness so deep / That God at the start couldn't bear," explicitly connects De Selby's character to the album's thematic core.
"De Selby (Part 2)," despite its infectious funk-rock sound, delves deeper into the idea of metamorphosis and the transformative power of darkness, particularly in the context of connection with others. Here, Hozier sings about getting lost in darkness with a loved one, an experience that leads to a loss of self, time, and direction. The contrasting upbeat tempo and the lyrics about losing oneself create a sense of tension, highlighting the potential dangers and rewards of surrendering to darkness in pursuit of connection. These two De Selby tracks serve as a powerful introduction, setting the stage for Hozier's exploration of the Nine Circles of Hell.
First Time
Transitioning from the introductory tracks, "First Time" ushers us into the first circle of Hell: Limbo. Here, with a voice like honey, Hozier croons about a love story tinged with the bittersweet reality of Limbo. The lyrics, "This life lived mostly underground / Unknowin' either sight nor sound," paint a picture of emotional isolation, a state that predates the relationship. The "life underground" could also symbolize a lack of connection with a deeper purpose, a void filled by the arrival of love.
The song's exploration of Limbo resonates with the concept of a love story existing in a state of perpetual yearning. The image of a "flower ripped out by the stem" foreshadows the potential fragility of this newfound connection.
In Dante's Inferno, Limbo is the first circle, inhabited by virtuous pagans and unbaptized souls. Their punishment lies not in physical torture, but in eternal longing for something they can never have - the beatific vision of God. Limbo is neither a place of suffering nor of joy, but a state of perpetual twilight. "First Time" captures this ambiguity. While the song has a surface-level romantic feel, the lyrics also hint at a sense of darkness and entrapment. This unfulfilled yearning reflects the core punishment of Limbo.
However, the kiss acts as a catalyst for a symbolic rebirth. The line, "And the first time that you kissed me / I drank dry the River Lethe," underscores this idea. In Greek mythology, the River Lethe is the river of forgetfulness. By referencing it, Hozier suggests that this love allows him to shed the past and embrace the possibility of a new beginning. "First Time" might not be a celebration of unbridled joy, but rather a cautious acceptance of love's transformative power, even in the face of potential loss.
This concept of rebirth is further emphasized in the chorus:
Some part of me must have died / The first time that you called me, “Baby” / And some part of me came alive / The first time that you called me, “Baby”
Here, Hozier acknowledges the duality inherent in any form of transformation. Just as a caterpillar must die to become a butterfly, a part of him must relinquish the past ("die") to embrace the possibilities offered by this new love ("came alive"). This metaphorical death signifies the shedding of old identities and past experiences, paving the way for a new version of himself.
Francesca
The third track, "Francesca," plunges us into the heart of the Second Circle of Hell: Lust. Here, souls are eternally buffeted by a violent storm, mirroring the tempestuous nature of uncontrolled desire. Hozier skillfully draws parallels to the tragic love story of Francesca da Rimini, condemned to this very circle alongside her lover Paolo Malatesta.
However, Hozier's interpretation deviates from the traditional portrayal of Francesca as a helpless victim. The song explores themes of commitment and unwavering love, suggesting a more defiant stance against their punishment. Lyrics like "Now that it's done / There's not one thing I would change" and "My life was a storm since I was born / How could I fear any hurricane?" convey a sense of acceptance and defiance in the face of their eternal torment.
In Dante’s Hell, sinners retain all those qualities for which they were damned, and they remain the same throughout eternity; that is, the soul is depicted in Hell with the exact characteristics that condemned it to Hell in the first place. Consequently, as Francesca loved Paolo in the human world, throughout eternity she will love him in Hell. But, the lovers are damned because they will not change, and because they will never cease to love, they can never be redeemed. Dante represents this fact metaphorically by placing Paolo close to Francesca and by having the two of them being buffeted about together through this circle of Hell for eternity.
“It was too soon When that part of you was ripped away / A grip takin' hold like a cancer that grows/ Each piece of your body that it takes”
The “cancer” is obviously the love that Francesca sees as insidious and taking hold and eating her alive, something she didn’t willfully choose but that which engulfed her as in Dante’s Inferno she says “Love, which pardons no one loved from loving in return, seized me for his beauty so strongly that, as you see, it still does not abandon me”
“Love, which pardons no one loved from loving in return, seized me for his beauty so strongly that, as you see, it still does not abandon me” is said by Francesca to Dante and Virgil symbolic of their hearts going to have to love for eternity even though they stopped beating.
The narrator's identity within the song becomes an intriguing point of analysis. Initially, the lyrics seem to be spoken by Francesca herself, yearning for a lost love. However, a closer look reveals ambiguity. Was it truly Francesca who fueled their passionate affair, or was she swept away by Paolo's advances? This ambiguity reflects Dante's own portrayal of Francesca in Inferno, where she blames love itself for her actions, diminishing her personal agency.
One of my favorite lines from the entire album comes from this song, where Hozier expresses how this love flourishes in its exile from Heaven when he repeats “I would not change it each time / Heaven is not fit to house a love like you and I.”
I, Carrion (Icarian)
Upon first listening to "I, Carrion (Icarian)," it's easy to mistake it for a love song drawing parallels to the tragic tale of Icarus. However, delving into the lyrics reveals a deeper exploration of loss and sacrifice.
The song unfolds as a poignant portrayal of self-sacrificing love, where one partner is willing to bear the brunt of life's hardships to shield their beloved from pain. I,Carrion can be also read as “I Carry On”, symbolizing how Hozier is ready to carry on with loss.
Lines like "If the wind turns / If I hit a squall / Allow the ground to find its brutal way to me" convey the willingness to endure suffering on behalf of the other.
Hozier's use of "Icarian" adds layers of meaning, suggesting a life filled with aspirations that inevitably lead to a devastating fall. Despite the inevitable downfall, the sacrifice is deemed worthwhile for the sake of true love.
The origins of the song as a gift for a former partner add a bittersweet dimension, highlighting the tender devotion that ultimately ended in heartbreak. Hozier's lyrics paint a picture of complete enamoration, with lines like "You have me floating like a feather on the sea," capturing the serene state induced by love.
However, beneath the surface lies a recognition of the emotional burden carried by the partner, depicted metaphorically as holding the weight of the world akin to Atlas. This juxtaposition with the thrill-seeking Icarian nature further emphasizes the complexities and challenges within the relationship.
The line "It’s the world. That falls away from me" takes on new meaning when viewed through the lens of unwavering love. Hozier's comparison of his lover to the world signifies an enduring commitment, implying that his love will never falter despite the inevitable trials.
In essence, "I, Carrion (Icarian)" encapsulates the profound depths of self-sacrifice, the complexities of love, and the enduring nature of devotion, making it a poignant and evocative piece of music.
Eat Your Young
In "Eat Your Young," Hozier delves into the theme of gluttony, reminiscent of Dante's depiction of the third circle of Hell. The song interweaves traditional notions of excessive consumption with darker undertones of corporate greed and exploitation.
Hozier's lyrics paint a vivid picture of gluttony in its various forms, blending references to food with suggestive sexual imagery. However, beneath the surface lies a critique of modern-day capitalism and its insatiable appetite for profit.
Lines like "Skinning’ the children for a war drum / Puttin’ food on the table, selling’ bombs and guns" highlight the disturbing reality of corporations profiting from both the literal and metaphorical consumption of youth. The juxtaposition of feeding the hungry while fueling wars reflects the perverse priorities of a society driven by greed.
Through these lyrics, Hozier confronts the harsh realities of exploitation and the commodification of human life. By equating the enlistment of young men in war with the corporate production of weapons, he underscores the inherent violence and destruction perpetuated by unchecked capitalism. Hozier challenges listeners to confront the consequences of their consumption and to recognize the interconnectedness of gluttony, greed, and exploitation in our society.
Damage Gets Done
In the following track, "Damage Gets Done," Hozier collaborates with the talented Brandie Carlile to craft a poignant ballad. This song delves into the theme of greed, portraying it as akin to the Fourth Circle of Hell. Through heartfelt lyrics, the duo explores the consequences of recklessness in youth and the lasting damage inflicted on society.
The Fourth Circle of Hell in Dante's "Inferno" is reserved for the avaricious and the prodigal, those who hoarded wealth and squandered resources during their lifetime. This circle symbolizes the destructive nature of greed and the eternal torment it inflicts upon the soul. Similarly, in "Damage Gets Done," Hozier and Carlile delve into the repercussions of selfishness and the toll it takes on relationships and the self.
Drawing parallels to Dante's depiction, the song captures the essence of societal conflict bred by greed, much like the perpetual struggle of souls in the Fourth Circle. Through reflective lyrics, it echoes the remorse felt by those ensnared by their desires, mirroring the regret of the damned.
Together, they lament,
But I know bein’ reckless and young / Is not how the damage gets done
This chorus challenges the misconception that the younger generation is solely responsible for societal woes, highlighting instead the role of corporate greed in shaping our world. They eloquently express the injustice of blaming youth for issues beyond their control, shedding light on the true culprits behind our societal challenges.
Who We Are
Who We Are" transcends heartbreak, weaving a parallel with Dante's Inferno's Fifth Circle – Wrath. Hozier, like Dante, embarks on a journey of self-discovery, uncovering the raw, destructive potential that lurks within humanity. This exploration extends beyond personal pain, reflecting a universal truth: our traumas often manifest as acts of violence against others. The chorus poignantly captures this struggle:
So much of our lives / Is just carving through the dark / And the hardest part / Is who we are
Here, the "dark" becomes a metaphor for the depths of human nature, where violence and pain reside. The final line, "Is who we are," carries a heavy weight, forcing us to confront the uncomfortable reality of our capacity for wrath.
Son of Nyx
"Son of Nyx" stands out on "Unreal Unearth" for its elegant simplicity. This instrumental track, a collaboration between Hozier, Bēkon, and Alex Ryan, deviates from the album's Dantean themes. Instead, it delves into the concept of the "Son of Nyx," a clear reference to Charon, the mythological ferryman of the underworld (son of Nyx, the goddess of night).This connection strengthens with the later inclusion of a song titled "Psychopomp," mirroring Charon's role as a guide for souls.
Adding another layer of meaning is the dedication of the song to Alex Ryan's late father. This personal element transforms "Son of Nyx" into a potential exploration of grief. The distorted melodies could symbolize the warped nature of memories and emotions during the grieving process. The simplicity of the track itself might be a deliberate choice, allowing the focus to shift to this emotional journey.
All Things End
"All Things End" stands out as a powerful and heartbreaking exploration of impermanence. Lyrically raw, it chronicles the demise of a relationship, mirroring the emotional devastation of a soul condemned to Hell.The song's sonic beauty, with its astonishing production and uplifting choral backing vocals, stands in stark contrast to the bleak message.
This very juxtaposition becomes a key to the song's deeper meaning. The impermanence of love, the central theme of "All Things End," resonates with the core punishment of the Sixth Circle of Hell – Heresy. Here, souls are eternally tormented for rejecting their faith or established beliefs. The lost love becomes a metaphor for the loss of faith, a central tenet in Dante's Inferno. The uplifting choral vocals, then,become a haunting reminder of the faith that has been abandoned.
Butchered Tongue
Hozier's "Butchered Tongue" plunges us into the heart of Dante's Seventh Circle of Hell, reserved for the violent. The song isn't just about physical brutality though. It delves into the horrors of the Wexford Rebellion of 1798, where British forces inflicted unimaginable violence upon Irish rebels. Here, the act of severing ears becomes a chilling symbol of this physical oppression.
But Hozier doesn't stop there. "Butchered Tongue" expands its scope to encompass another form of violence – the systematic suppression of the Irish language. The song laments the suffering of those forced to abandon their native tongue and does a great job highlighting the lasting impact of this cultural oppression. Though Gaelic survived, its scars remain, with many unable to speak it today.
Anything But
Hozier's "Anything But" offers a masterfully deceptive exploration of Dante's Eighth Circle of Hell – Fraud. Sonically upbeat and lyrically playful, the song presents itself as a charming love song. Lines like "If I was a stampede, you wouldn't get a kick" and "If I was a riptide, I wouldn't take you out" employ Irish idioms that mask a deeper meaning. These seemingly sweet declarations are, in fact, laced with sarcasm, revealing Hozier's desperate desire to distance himself from the object of his affection.
The true depth of the song's meaning is unlocked with the line "If I had his job, you would live forever." Here, the "he" Hozier references is not a rival lover, but Death itself. In the context of Dante's Inferno, "living forever" becomes a chilling euphemism for eternal torment. This line exposes the song's true narrative – a desperate plea to avoid a soul-crushing entanglement, disguised as a lighthearted love song.
Unkown/Nth
The title itself is a double entendre. "Unknown" signifies the devastating realization that the lover was never truly known. "Nth" alludes to the "nth degree," implying a cycle of repeated heartbreak, a torment reaching an unimaginable intensity. It's a lament echoing from the ninth circle of Dante's Inferno – Treachery. Here, heartbreak isn't just a sting; it's a cosmic betrayal.
The opening lines of "Unknown / Nth" cast us into a realm beyond mere heartbreak. While comparisons to deities might be hyperbole, Hozier's voice undoubtedly possesses an otherworldly quality. But this power isn't used for celestial hymns; it plumbs the depths of human suffering. The line "So I thought you were like an angel to me" underscore the profound sense of disillusionment.
Like Dante traversing the treacherous circles, the song chronicles a descent into the despair of a broken heart. This heartbreak, however, is not a simple descent; it's a Sisyphean cycle, repeating the "same mistakes" mentioned earlier. Each repetition becomes a fresh torment, a renewed plunge into the icy lake of Cocytus, where traitors are eternally frozen. The beloved,once perceived as a celestial being, has revealed a darker nature. This shift echoes Dante's portrayal of figures like Lucifer, once an angel of light, now trapped in eternal darkness.
Hozier's sorrowful lamentations expose the pain of a shattered heart. The haunting refrain of "sha-la-la's" takes on a new meaning within this Dantesque framework. It becomes a taunting echo, a mocking reminder of the deceitful words and promises that led to this agonizing descent.
loved the deep dive into the connection with Dante's epic in the album's background. It added so much depth to my understanding. However, I would have loved to read more discussion on the compositions as well, given how rich and correlated with his storytelling they are.