In putting the finishing touches to the review of the latest album from Dublin artist Hilary Woods, it has come as quite the surprise that Hilary was previously in indie band JJ72. I recall seeing them back in the day and enjoying their two albums. Hilary’s fourth solo album entitled Night Criú, is some departure from her previous band. The press release advises that this bewitching music has been influenced by aspects of Czech and early Italian cinema, the revival of indigenous language, a personal history of attending processions and parades, the joy in dance, the immediacy of sound and the collective standing up for what it means to be human in the face of tyranny and oppression. Recorded between 2023 and 2025 in the West Coast of Ireland, Dublin, London, Latvia and Richmond, Virginia, additional contributions come from Hannah Fallon, The Hangleton Brass Band, Gabriel Ferrandini and Ajo Gonsenica.
There is something richly rewarding about droning woodwind instruments and the earthly tones that underpin the beautiful opening track ‘Voce’ have a natural and warm atmospheric. With thunderous basic percussion striking hard with every bass thud this makes for an unusual and unique sound. A children’s choir normally gives me a headache, but the addition here adds to the serenity in the most haunting way. Like Midwife, Hilary uses effects and multitracked voices to create a ghostly tone and the harmonising in ‘Faults’ is just gorgeous, pulling hard on the heart strings. This song transports the listener to a place of safety and calm. Better than any medication or bliss inducing elixir. With minimalism the over riding theme, the brass parps that lurch into your head space are joyous and euphoric. ‘Endgames’ rides on a cloud of droning hums as intervallic scrapes provide ghostly shocks. The song floats with a chilling charm, like Lana Del Ray performing in a graveyard. Music that wilfully opts for such ethereal and enchanting sounds will struggle to find any place to call home, in terms of mainstream appeal.
‘Brightly’ wanders into Low territory with barely there percussion and radiant voices that ensnare you like the flowing fibres of dancing fairies. Truly the soundtrack to a dreamworld where nothing hurts and mysterious shapes shimmer and bring joy with every twist and turn. ‘Taper’ feels indulgent with clinking percussion and clear guitars providing the sturdy backdrop for Hilary’s trancelike tones. The children’s choir make another appearance adding a hymnal wash to the heavenly artwork. ‘Offerings’ really pushes the experimental button with a myriad of kooky voices and warped drones, the effect of hearing this is deeply unsettling and provides a ghostly chill. Finally, album closer ‘Shelter’ reminds me of Julee Cruise’s affecting music for Twin Peaks. Swirling strings rise and hover over a droning hum as Hilary’s voice rises and falls like a swooping trapeze artist. It’s truly mesmerising. Every now and then a record like this comes along to completely stop you in your tracks. With such beautiful instrumentation and use of space to create a wondrous soundscape, it’s impossible not to fall in love with such enchanting music.
