Picture a Broadway star trapped in her ideal punk world: Fairchild’s background in musical theatre is evident in Poor Leander, in which the band’s passion comes into play. Hannah interrogates with an interminable chain of rhetorical questions such as “Did you find her at the road side with her wrist tied?” and “Was she good to you?” – a definite nod to Alanis Morrisette’s You Oughta Know.
In All Eyes On Me, Fairchild roars and demands that all eyes are on her. A reverberated bridge of murmurs helps to set the state of mind of the subject in matter. Just when you think it’s over, the band starts up a revival with a startling twang to symbolise the end.
The smooth tempo of Slow Burn delves into a more glamorous and soulful element of the sound of Hannah vs The Many. Halfway through, a daring Fairchild asks us: “Can you keep me dizzy til’ the music stops?” before there’s uproar in the form of hearty guitar riffs that almost overwhelm Fairchild’s sweet Gwen Stefani-esque vocals.
Again the theatre background plays a role, with Fairchild playing out her fantasy in Lady of the Court. The intensity of the guitar chords and insecurity in Fairchild’s voice make up the smoothness of the track, which ends on a lighter note with Fairchild asking herself “How did I get it?”
Definitely the slowest and perhaps the most reserved track with lines such as “I’m only as clean as the floors I’ve been kneeling on”, Nicollet is a stripped back, almost-ballad with a sombre piano creating illusions of sadness.
You can stream the new single Poor Leander below.
Words: Simone Wright