Ben Hemming – Darkness Before Dawn
As heard on 2023’s Resurrection EP, London based Nu-Blues singer-songwriter-guitarist Ben Hemming is now more focussed on an alt-rock blues/ heavy Americana sound than the brooding blues of previous studio albums or the stark, acoustic Delta blues honesty of critically acclaimed debut Broken Man.
Resurrection underlined those bolder, alt-rock blues strokes to such fine effect that all five EP songs feature on the dark and cathartic (Ben Hemming traits) Darkness Before Dawn, a musical and lyrical re-evaluation of one’s self and how to take, and make, positivity in what is a seemingly lost world.
In short, a bolder, but still beautifully dark, new direction for Ben Hemming.
The album, which features the purposeful and weighty rhythm section of Lui Rampino (drums) and Stefan Redtenbacher (bass), was recorded at Masterlink Productions with producer & engineer James Welsh, who has brought out the best in Ben Hemming (the fuller sound benefits both artist and songs).
Kicking off with a song titled 'The End' may seem a little out of place, but it’s the perfect opener to showcase the new, fuller bodied alt-rock-blues sound of Ben Hemming, here clothed in the darkest, heavy Americana you’ll hear.
"I was born with a crown of thorns, I tried to live a life of reforms" declares Hemming on a song that lyrically seeks change, before ending on a repeated cry (forlorn or hopeful, you decide) of "it’s the end!"
'Baptise Me,' which follows, is an angsty, contemporary sheened alt rocker that, on the surface, seems to be a religious plea to "teach me how to be man" but at a deeper level is looking at gender issues and hypocrisy of the modern world.
'Lonesome Road,' built on a bouncy riff-rhythm, is a bluesy alt-rocker par excellence, one that lyrically depicts a travelling musician’s way of life but also acts as a metaphor for a life that's sometimes difficult to navigate ("I searched the world for truth, but in the journey I lost my youth").
Resurrection underlined those bolder, alt-rock blues strokes to such fine effect that all five EP songs feature on the dark and cathartic (Ben Hemming traits) Darkness Before Dawn, a musical and lyrical re-evaluation of one’s self and how to take, and make, positivity in what is a seemingly lost world.
In short, a bolder, but still beautifully dark, new direction for Ben Hemming.
The album, which features the purposeful and weighty rhythm section of Lui Rampino (drums) and Stefan Redtenbacher (bass), was recorded at Masterlink Productions with producer & engineer James Welsh, who has brought out the best in Ben Hemming (the fuller sound benefits both artist and songs).
Kicking off with a song titled 'The End' may seem a little out of place, but it’s the perfect opener to showcase the new, fuller bodied alt-rock-blues sound of Ben Hemming, here clothed in the darkest, heavy Americana you’ll hear.
"I was born with a crown of thorns, I tried to live a life of reforms" declares Hemming on a song that lyrically seeks change, before ending on a repeated cry (forlorn or hopeful, you decide) of "it’s the end!"
'Baptise Me,' which follows, is an angsty, contemporary sheened alt rocker that, on the surface, seems to be a religious plea to "teach me how to be man" but at a deeper level is looking at gender issues and hypocrisy of the modern world.
'Lonesome Road,' built on a bouncy riff-rhythm, is a bluesy alt-rocker par excellence, one that lyrically depicts a travelling musician’s way of life but also acts as a metaphor for a life that's sometimes difficult to navigate ("I searched the world for truth, but in the journey I lost my youth").
The modern world, or in this case the consumer led society we find ourselves in, features again in the weighty, distortion blues that is 'Holy For a Day,' albeit as a more subtle lyrical undercurrent ("I searched for truth behind the lies, but honesty is just a compromise").
The brooding, dark Americana meets contemporary rock of 'Sunrise' lyrically reflects on a major theme of the album, new beginnings; the more downtempo but no less impacting 'Propane' then focusses on another major theme, that of change, or rather finding the strength to change ("Sitting here with my life in my hands, wishing I could fulfil my plans").
Similarly downtempo is Americana-country number 'Born To Die, the perfect musical accompaniment to Ben Hemming’s stark, lyrical reality ("I say a prayer now they’re gone, so they come back like a forgotten song; but they were born to die").
The Delta blues acoustic intro of 'Dark Waters' builds to a purposeful and powerful mid-tempo that could be termed a redemption swagger; Ben Hemming certainly sounds like he’s looking for redemption on his expressive, soulfully forlorn vocal ("Yes, I feel the waters, wash over me").
Ben Hemming said he wanted to write a song that carried influences of Nick Cave, and fair to say he succeeded on 'Howling at The Moon,' which flits from the emotive vibe of Cave to Americana twang and a heavyweight, guitar thick chorus. A true highlight.
Final number 'The Devil’s Dance' has an air of dusty Mexican border town about it on the acoustic intro (you can almost hear it being played during the end credits of a modern-day spaghetti western).
The song then develops into more of a Western Americana, one that's high on melody and carrying a very effective chorus. It’s also a number that adds another texture to the nu-sound of Ben Hemming.
The darker and visceral sides of Ben Hemming are still very much in evidence, but as the title of this album suggests, this is a musically honest and lyrically contemplative rebirth for the musician, one that sees him delivering his best, and most expressive work to date.
Ross Muir
FabricationsHQ
The brooding, dark Americana meets contemporary rock of 'Sunrise' lyrically reflects on a major theme of the album, new beginnings; the more downtempo but no less impacting 'Propane' then focusses on another major theme, that of change, or rather finding the strength to change ("Sitting here with my life in my hands, wishing I could fulfil my plans").
Similarly downtempo is Americana-country number 'Born To Die, the perfect musical accompaniment to Ben Hemming’s stark, lyrical reality ("I say a prayer now they’re gone, so they come back like a forgotten song; but they were born to die").
The Delta blues acoustic intro of 'Dark Waters' builds to a purposeful and powerful mid-tempo that could be termed a redemption swagger; Ben Hemming certainly sounds like he’s looking for redemption on his expressive, soulfully forlorn vocal ("Yes, I feel the waters, wash over me").
Ben Hemming said he wanted to write a song that carried influences of Nick Cave, and fair to say he succeeded on 'Howling at The Moon,' which flits from the emotive vibe of Cave to Americana twang and a heavyweight, guitar thick chorus. A true highlight.
Final number 'The Devil’s Dance' has an air of dusty Mexican border town about it on the acoustic intro (you can almost hear it being played during the end credits of a modern-day spaghetti western).
The song then develops into more of a Western Americana, one that's high on melody and carrying a very effective chorus. It’s also a number that adds another texture to the nu-sound of Ben Hemming.
The darker and visceral sides of Ben Hemming are still very much in evidence, but as the title of this album suggests, this is a musically honest and lyrically contemplative rebirth for the musician, one that sees him delivering his best, and most expressive work to date.
Ross Muir
FabricationsHQ