Hemlocke Springs' Debut Album: A DIY Triumph in Risk-Averse Pop Era
In an era where social media often draws criticism for its negative impacts on pop culture, from toxic fan dynamics to invasive lyric interpretations, it is crucial to highlight its positive influences. Platforms like TikTok have the power to resurrect obscure tracks from pop history and catapult unconventional artists to stardom, bypassing the traditional, risk-averse gatekeepers of the music industry.
The Rise of Hemlocke Springs
Enter Isimeme Udu, known professionally as Hemlocke Springs, a 27-year-old former librarian from North Carolina. She gained fame by posting homemade music videos on TikTok, embracing a distinctive aesthetic with neon-colored wigs and a lo-fi, 80s-inspired synth-pop sound. Her self-released tracks, dubbed "awkward Black girl anthems," have amassed millions of streams and caught the attention of major artists like Doja Cat and Chappell Roan, who invited her on tour. A memorable moment from last autumn shows Springs performing her hit Girlfriend to a crowd of 13,000 at New York's Forest Hills stadium, with the audience singing along enthusiastically.
This heartwarming success story underscores the potential of DIY artistry, driven by geeky originality and irresistibly catchy melodies. However, the fleeting nature of online virality poses a challenge: can an artist translate this initial buzz into lasting, mainstream success? Hemlocke Springs' debut album, The Apple Tree Under the Sea, suggests she is not necessarily aiming for conventional fame.
A Concept Album Defying Expectations
Released independently via the label services company Awal, the album delves into Springs' personal history as the child of devoutly Christian Nigerian parents. It tackles themes such as arranged marriage, with tracks like w-w-w-w-w featuring poignant lyrics like, "I would rather kill myself than look him in the eyes and say I want your love." The album also references religious elements, such as the ancient Hebrew name El Shaddai, showcasing her willingness to explore deep, personal narratives.
Had a major label been involved, they might have pushed for a more homogenized sound, steering away from such idiosyncrasies. Instead, the album is a collaboration between Springs and Burns, an English EDM producer known for his work on Lady Gaga's Chromatica. This partnership results in a wildly eclectic mix of genres, from brash electronics and pop-dance to 80s metal guitars and show-tune-inspired vocals. Within just three songs, listeners encounter piano ballads, pizzicato strings, and influences ranging from Prince to Stevie Nicks and Britney Spears.
Eclectic Sounds and Lyrical Intrigue
At times, this fidgety, swipe-right eclecticism can feel overwhelming, especially with Springs' versatile voice shifting from raw and untutored to mannered and precise in an instant. Yet, it also produces moments of head-spinning brilliance. For instance, Sever the Blight transitions from a Kate Bush-esque intro to dramatic film-soundtrack synths, then to crisp electronic pop. Similarly, Moses moves from a gospel choir to an ominous bass tone, culminating in a fantastic pop chorus.
Throughout the album, the music remains anchored by well-crafted earworms reminiscent of Springs' viral hits. The lyrics are consistently intriguing, as seen in Head, Shoulders, Knees and Ankles, where she sings, "I wonder who's walking around with fertiliser and amplifying all the tension in her head," rhyming it with "the tenebrous festered corners of your bed."
Embracing Cult Success Over Mainstream Fame
The tracks most similar to her breakthrough singles are strategically placed at the album's end, offering a wonky, Stranger Things-inspired vibe. Despite the album's brevity at just over 30 minutes, it feels like a substantial journey. A major label might have objected to this structure, but Springs' approach is refreshingly assured: she presents her art on her own terms, inviting listeners to take it or leave it.
This intractability mirrors that of artists like Chappell Roan, who have found success by staying true to their vision. While it may not always lead to mainstream fame, it often cultivates a dedicated cult following. For Hemlocke Springs, this appears to be the goal, and with The Apple Tree Under the Sea, she has undoubtedly achieved it.
In other music news, Alexis Petridis recently praised Sofia Kourtesis' collaboration with Afro-Peruvian band Novalima, Los Poemas No Siempre Riman, noting its warmth and joy as a perfect antidote to February's grey misery.
