Album Review: Gramsci - The Hinterlands

Gramsci – The Hinterlands
(Independent)

When music resonates with us in some way, it has the power to evoke profound responses. Studies conducted into physical and emotional reactions to music have found that changes in heart rate, blood pressure and respiration, along with chills, a lump in the throat, and even tears are common occurrences. Chances are that most of us have experienced such phenomenon at some point; an encounter that has the ability to create a sense of calm and relaxation, jubilation and ecstasy, or pure bliss.

However, it is an all too rare occurrence to encounter an entire album that evokes responses of this magnitude from the first note to the very last. Yet ‘The Hinterlands’, the new album from Gramsci, does just this.

This is much, much more than just a collection of tracks. It is an immersive sonic experience that takes the listener on the most beautiful and rewarding of auditory journeys. It commands – and is entirely deserving of – the listener’s full and undivided attention from beginning to end.

Gramsci founder and mastermind Paul McLaney refers to ‘The Hinterlands’ as “a new album of old magic”. Indeed, he masterfully conjures a unique form of sonic and lyrical magic, carefully and ingeniously weaving together the threads of his diverse musical sojourns from the last three decades.

2020’s critically acclaimed ‘Inheritance’, which marked the return of the Gramsci moniker after a 15 year hiatus, heralded the dawn of a new era of musicianship for McLaney, one that he refers to as the “culmination of his musical apprenticeship”.

Those 15 years saw him turn his attention towards other musical explorations. He embarked on an extended period of seemingly boundless creativity into the realms of electronica and acoustic guitar playing in order to reclaim his musicality. (One only needs to look at McLaney’s canon of work to date to appreciate the enormity and significance of this ‘apprenticeship’).

‘Inheritance’ was McLaney bringing previously separate facets of his work to the fore; aspects of his compositions that had predominantly existed on the periphery. Having delved into and examining the parameters of his expression, ‘The Hinterlands’ sees McLaney firmly planting his musical stake in the ground, claiming and embracing his identity not only as a musician, but first and foremost as a guitar player.

Yes, ‘The Hinterlands’ is essentially the culmination of a lifetime’s worth of explorations into music, both as a listener and musician. I have heard this is the album that he has wanted to make since he was 17 years old. It is highly likely that three decades of intently studying and playing music have made a significant contribution to the timeless sound that is evident in every track, which in turn creates a compelling and immersive soundscape.

This is an album that is predominantly characterised by McLaney’s exquisite guitar playing. Each track features a guitar solo; yet each solo is integrated so seamlessly into the composition that it becomes an integral part of the storytelling process. The guitar not only becomes an extension of McLaney’s voice, but his primary tool of expression. His ability to convey levels of emotion and sentiment that are beyond words is truly breath taking, and his skill in maintaining the balance between the use of language, the voice and music defies comparison.

McLaney is once again joined by drummer/percussionist Greg Haver, who also co-produced the album, and new recruit Marika Hodgson on bass. The result is a rhythm section that propels each and every song to new heights. The musical chemistry between the trio is palpable from the outset, which only adds to the richness of sound that flows throughout the album.

One only needs to listen to the boldness of ‘Ourselves’, the majestic beauty of ‘Into the Hinterland’, the elegance of ‘Heaven In A Wildflower, or the melancholic grace of ‘Epiphany’ to realise that this is an exceptional album. It is almost impossible to single out standout moments as each track is a highlight in its own right, playing a key part in the cohesive and sophisticated narrative that runs through the album. Thematically it contemplates the complexities of the interior emotional landscape – life’s highs, lows and everything in between – while simultaneously drawing together the seemingly paradoxical elements of light and dark.

Perhaps most importantly, McLaney creates an exquisite and lush sonic haven in ‘The Hinterlands’ that facilitates a profound connection between the head and the heart, while encouraging reflection, thought, mindfulness, and ultimately hope.

It is almost inevitable that the album will draw comparisons to the likes of The Cure, Talk Talk, Roxy Music or Peter Gabriel. But make no mistake, this album resonates with the sound of an unabashed Paul McLaney in his absolute element; a musician who has well and truly arrived.

The album’s closing track ‘Remember’ has McLaney pondering “who will remember me? Will I be remembered?”. On the strength of this album alone, the answer is a resounding YES, for here he has truly created magic.

‘The Hinterlands’ is a modern masterpiece of – and for – the here and now, and beyond.

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