Gemma Hayes

Irish singer/songwriter Gemma Hayes seemed poised for a rapid ascent in the early part of the decade. Her first EP, 2001's 4:35 a.m. got her off to a critically acclaimed start, and then her debut full-length, Night on my Side, earned her a coveted nomination for the Mercury Prize (which rewards the best album from the UK or Ireland). But the traction didn't hold, and she fell off the radar in the following years–first with what was perceived as too long of a break between first and second albums, and then by delivering a second album (The Roads Don't Love You) that was not particularly well-received.

The Hollow of Morning finds some middle ground–too smart and well-crafted to be written off, but also still failing to present the fresh sort of perspective that was promised in Hayes' debut. Hayes has taken a shift toward very catchy and sometimes very lightweight folk-pop. Her warm vocals are inviting and perfectly pleasant, but don't always give the listener something to hold onto–and this is particularly the case when the songs are stripped-down, like the sleepy "Sad Ol' Song" and "Under A Canopy." These tracks show Hayes capable of making nice background music, but lack the urgency and texture that made earlier singles like "Hanging Around" stand out from the pack.

Given the discography as it stands, it's hard not to wish for the return of producer Dave Fridmann, who's best known for his experimental shepherding with The Flaming Lips and Mercury Rev, and manned the boards for 4:35 a.m. and Night on my Side. He surely would approve of the album's best track, the propulsive "Out Of Our Hands." There, the grand guest guitar of My Bloody Valentine's Kevin Shields (yes, cred points for Hayes) ratchets up the emotional impact–something that, for all its pop pleasantness, is in relatively short order on The Hollow of Morning.

—Adam McKibbin
10.10.08

After the failed attempt to break through into the mainstream with her radio-friendly second album, The Hollow Of Morning sees Gemma Hayes reverting back to the lo-fi guitar sound of her Mercury Music Prize nominated debut. The first release through her self-titled, self-funded label, this is obviously the record Hayes wants to make. Produced by Night On My Side's David Odlum and featuring My Bloody Valentine's Kevin Shields on guitar, its back-to-basics approach is unlikely to yield any hit singles, but by abandoning any notions of commercial success, Hayes has been given a new lease of life. On first listen, only the crunching rock of "Out Of Our Hands" and the California sun-soaked guitar-pop of "Don't Forget" stand out but Hayes' records have a habit of appearing rather nondescript at first only to unfold after further plays to reveal an almost dreamlike quality, and this is no exception. Stripped-down opener "This Is What You Do" is an intimate acoustic number filled with melancholic harmonies; the atmospheric "Home" combines layered guitars with distorted vocals; and the epic "At Constant Speed" effortlessly switches from a wistful ballad to a synth-driven pop song. There are occasions when the presence of an obvious hook or chorus wouldn't go amiss such as on the aimless "Chasing Dragons." But Hayes' secret weapon, her gorgeous Irish-lilted voice, often comes to the rescue, transforming a mediocre song into something worth listening to and a good song into something special. At just ten tracks long, one of them an instrumental, The Hollow Of Morning never outstays its welcome but after a three year absence, some fans may feel a little short-changed at its 36 minute running time. But it's very rare that one of those 36 minutes is wasted. Hayes is unlikely to be challenging for the Mercury Music Prize again, but those who appreciated her innovative debut will find much to like here. ~ Jon O'Brien, All Music Guide