Get over yourself and the title.
So, lets deal with that title first. Names Hurley’s abusive father called them when growing up. The album title is a way to reclaim those negative narratives and repurpose them in a way that benefits the artist they’ve become.
Third record from Naarm/Melbourne resident Edgar Hurley (Jordan Wearn) is a small collection of folk songs with an extensive remit: including personal tales, social commentaries and the challenges of being judged for one’s sexuality. Hurley’s a talented musician, gently playing guitar, piano, brass and drums to accompany some wonderful, succinct lyrics. Recognition must also go to long time friends, musicians, collaborators and fellow walking wounded Demetry Malahoff and Al Speers. Malahoff and Mathew Hadley have taken a light handed approach to the albums’ production enhancing the overall frangible feel.
Opening track ‘Spoonful’ is sparse, with upfront piano and just the faint shadow of Julie Andrews in the background. ‘Lover Lover Lover’ is the record’s longest track but it bounces along quite nicely even with the repetitive lyrics. “I ate you like candy/ Now I’m sugar blind/ Lover Lover lover, come back to me”. ‘Magic’ is… just magic. Hurley sugar-coats a dig at man’s natural inclination to capture and tame. Hopefully, it is also a brilliantly barbed, subtle attack on toxic masculinity, the unsolicited world and a classy get it up ye to his dad. ‘The Worker’ does not shy away from telling it like it is, “You’ll leave me naked in the wet patch on the bed/ You’ll take the money and say let’s do this again”. Closing track ‘Coming Back to You‘ is a love song with the faintest glimmer of pride and optimism.
Despite this album’s brutal title, these seven bittersweet tracks are delicately composed and well worth a listen. A repurposed, fine folk artist.
