Gemma Hayes | ||
| Allmusic Biography : It was sheer force of will, and no little talent, that bought Irish singer/songwriter Gemma Hayes her first record deal with French electro imprint Source Records, as the singer had spent the best part of half a decade working and performing around Dublins premier music venues. While her debut EPs were relatively spare and folksy affairs, her labels legacy came to bear on subsequent recordings, where Hayes demonstrated a proclivity for chilled electronics and swampy, My Bloody Valentine-style shoegaze effects alongside the subdued melancholy of Joni Mitchell and Neil Young. This cross-genre appeal would see Hayes mentioned regularly alongside female contemporaries Beth Orton and PJ Harvey and earn her a Mercury Music Prize nomination in 2002. Gemma Hayes was born into a musical family with seven siblings in the secluded village of Ballyporeen, Tipperary, in the southwest of Ireland. The claustrophobia of small-town life on the one hand, and boarding school on the other, led Hayes to immerse herself in music and poetry as a teenager. Enrolling at university in Dublin upon graduation, Hayes took up the guitar and continued writing. Eventually, she made the decision to drop out of college and pursue music full-time, supporting herself by working at a launderette and performing solo gigs around the city by night. Assembling a band to flesh out her sound, Hayes was approached by EMIs dance music imprint Source Records and signed a multi-album deal in 2001. She was just 23 years old. That same year saw the release of Hayes first EP, entitled 4.35 AM, which along with 2002s Work to a Calm saw the singer tentatively dip her feet into the world of recording. Interest in the EPs was sufficient to create a buzz for her debut album. Turning down the opportunity of working with the labels preferred producer, Nigel Godrich (Radiohead, Beck), Hayes instead chose to work with Mercury Revs Dave Fridmann and her then-boyfriend, Dave Odlum (Kíla, the Frames). Fridmanns influence allowed her to realize the shoegaze and noise rock textures that the EPs had only hinted at. The resulting album, Night on my Side, was released in the U.K. and Ireland in May of 2002, charting at number eight in her home country and in the U.K. Top 100. A slightly reworked version of the album was released in the U.S. the following April. Night on my Side proved a critical success, and it was just edged out by Ms. Dynamites A Little Deeper in the race for 2003s Mercury Music Prize. Yet Night on my Side had proved neither the commercial nor artistic success that the artist had planned, and Hayes decided to take an extended hiatus from the music business before planning her next move. In the meantime, she co-wrote the track "Hazy" with Adam Duritz for Counting Crows 2003 live album, New Amsterdam. Duritz expressed his appreciation by referencing Hayes in the lyrics of a track entitled "Washington Square" from the 2008 album Saturday Nights & Sunday Mornings. Hayes returned in 2005 and, with the help of Joey Waronker (Beck), self-produced The Roads Dont Love You. Lead single "Undercover" was co-written with Jellyfish supremo Roger Manning, Jr., piercing the Irish Singles Chart at number 38 and hitting number 60 in the U.K., while noted influence Lisa Germano added guest violin to the album. The Roads Dont Love You was an overall more accessible effort than its predecessor, and it reached number 13 in the Irish Album Chart, but it wasnt enough to dissuade Source from canceling her contract the following year. In late 2006, Hayes announced that she would work on a third album with Dave Odlum. To be released on her own specially created Gemma Hayes Music label, The Hollow of Morning took over a year to create, a torturous process that was more akin to guest producer Kevin Shields (of My Bloody Valentine) than Hayes. Other producers included Bell X1 frontman Paul Noonan and singer/songwriter Joe Chester. The Hollow of Morning debuted at number 12 in the Irish Album Charts upon its release in May of 2008. A worldwide release with Nashville indie label ATC Records followed later that month. Hayes then began an extended process of recording and reworking her fourth full-length album, during which time she played live shows in Europe, released a 2009 EP titled Oliver, and wrote four original songs for the soundtrack to the 2011 indie film Janie Jones. Let It Break was self-released in 2011 in Ireland, where it debuted at number 11, followed soon after by a duet EP of Bob Dylan covers with Roddy Hart titled Dylan EP. 2012 saw an international release of Let It Break by Fullfill Records, as well as a cover of Chris Isaaks "Wicked Game," which appeared on an episode the U.S. TV show Pretty Little Liars. The following year she began recording her fifth studio album, but before finishing released a live set, 2014s Night & Day, which had been recorded at 2012 shows in Dublin and London. Bones + Longing was released in Ireland later in 2014 with a wider release following in early 2015. | ||
 | Album: 1 of 9 Title: 4.35am Released: 2001-07-09 Tracks: 5 Duration: 17:04 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Gotta Low (04:25) 2 Making Waves (03:36) 3 Evening Sun (03:47) 4 4.35am (03:01) 5 Piano Song (02:13) |
 | Album: 2 of 9 Title: Work to a Calm Released: 2001-11-21 Tracks: 5 Duration: 16:51 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Tear in My Side (04:03) 2 I Worked Myself Into a Calm (03:59) 3 Cant Find Love (03:33) 4 A New Day (Version 1) (03:26) 5 Callas (Instrumental) (01:49) |
 | Album: 3 of 9 Title: Night on My Side Released: 2002-05-27 Tracks: 12 Duration: 52:59 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Hanging Around (03:36) 2 Back of My Hand (04:06) 3 Let a Good Thing Go (radio edit) (03:25) 4 Tear in My Side (04:03) 5 I Worked Myself Into a Calm (03:59) 6 Lucky One (Bird of Cassadaga) (05:09) 7 Making Waves (03:39) 8 Ran for Miles (04:31) 9 My God (04:26) 10 4:35 am (03:02) 11 I Wanna Stay (06:59) 12 Evening Sun / What a Day (06:01) |
| Night on My Side : Allmusic album Review : The stateside version of Gemma Hayes critically hailed debut Night On My Side finds a young artist with impeccable taste. Like Beth Orton, theres a purity behind Hayes lyrics and a believable beauty behind the music. Produced by Dave Fridmann (Mercury Rev, Flaming Lips) and Hayes boyfriend, ex-Frames guitarist David Odlum, Night On My Side finds the Irish songbird working with elements of her favorite band, My Bloody Valentine, while crafting a real, passionate rock sound of her own. She plays guitar, but she refuses to be categorized as the next Jewel, and Night On My Sides soft-hued confidence is certain of that. From the blistering haze of "Lucky Haze" to the kaleidoscopic guitar textures of "I Let A Good Thing Go," the shift in songs initially found on the UK album gives new life to Night On My Side. "4:35 a.m." and "Work To A Calm," which were only previously available on European import EPs, are equally loaded with lush space rock fibers while "Evening Sun" (also unavailable on the import version) closes in on Hayes day and night theme. Night On My Side offers a peace of mind, a soothing feeling thats prominent in Ortons work as well as in Lisa Germanos and Hope Sandovals material; however, a lingering darkness isnt there. Theres an innocence thats like slow dancing at twilight that sets Night On My Side apart from all the rest. | ||
 | Album: 4 of 9 Title: The Roads Dont Love You Released: 2005-10-31 Tracks: 11 Duration: 46:39 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Two Step (04:04) 2 Another for the Darkness (03:49) 3 Happy Sad (04:20) 4 Easy on the Eye (03:56) 5 Keep Me Here (04:13) 6 Undercover (04:10) 7 Nothing Can (04:51) 8 Helen (03:30) 9 Something in My Way (04:06) 10 Horses (04:09) 11 Tomorrow / Pull Me In (05:26) |
| The Roads Don't Love You : Allmusic album Review : After a long bout of writers block, Irish singer/songwriter Gemma Hayes finally returns with a second album that largely ignores the sound that made her debut so striking. Released in 2003, Night on My Side was a dream pop marvel that recalled Lisa Germanos powerful blend of folk-rock simplicity and art rock sonic experimentation, but perhaps producer Dave Fridmanns fingerprints were too much evident on the My Bloody Valentine-meets-Grandaddy feel of the album. The Roads Dont Love You is co-produced by Hayes and Joey Waronker (Beck, R.E.M., etc.) and has a much more mainstream, almost slick pop sound, helped along by session pros like Jellyfishs Roger Manning (who also co-wrote first single "Undercover"), guitarists Smokey Hormel (Tom Waits) and Josh Klinghoffer (PJ Harvey), and -- ironically enough -- Lisa Germano herself on violin. Hayes songs are uniformly strong, particularly the terrific pop/rocker "Happy Sad," but the commercially minded production has little of the spooky, atmospheric charm of her debut. | ||
 | Album: 5 of 9 Title: The Hollow of Morning Released: 2008-05-02 Tracks: 10 Duration: 36:25 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 This Is What You Do (04:59) 2 Out of Our Hands (03:41) 3 January 14th (01:31) 4 Home (03:10) 5 In Over My Head (03:41) 6 Chasing Dragons (03:55) 7 Dont Forget (03:47) 8 Sad Ol Song (03:17) 9 At Constant Speed (06:10) 10 Under a Canopy (02:10) |
| The Hollow of Morning : Allmusic album Review : 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 Sides David Odlum and featuring My Bloody Valentines 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 "Dont 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 wouldnt 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 shortchanged at its 36-minute running time. But its 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. | ||
 | Album: 6 of 9 Title: Oliver EP Released: 2009-03-13 Tracks: 5 Duration: 18:29 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Oliver (03:17) 2 Ghost (02:59) 3 These Days (02:55) 4 Half Light (04:19) 5 November (04:59) |
 | Album: 7 of 9 Title: Let It Break Released: 2011-05-27 Tracks: 18 Duration: 1:10:28 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Don’t Let Them Cut Your Hair (02:08) 2 There’s Only Love (05:50) 3 Sorrow Be Gone (02:31) 4 Keep Running (04:39) 5 Ruin (04:57) 6 Shock to My System (04:19) 7 Brittle Winter (03:31) 8 That Sky Again (02:09) 9 All I Need (04:16) 10 To Be Beside You (04:20) 11 Waiting for You (04:13) 12 Fire (04:39) 13 Noise (04:22) 1 Oliver (03:17) 2 Ghost (02:59) 3 These Days (02:55) 4 Half Light (04:19) 5 November (04:59) |
| Let It Break : Allmusic album Review : Having to watch the likes of Cathy Davey and Imelda May effortlessly sail to the top of her homelands charts, Tipperary singer/songwriter Gemma Hayes could have been forgiven for hitting the panic button in an effort to reclaim some of the kudos shed achieved with her Mercury Music Prize-nominated debut, Night on My Side. However, the diminutive chanteuse appears to be completely unconcerned by the her displacement, as her fourth studio album, and her second through her own label, Let It Break, is perhaps her least commercial offering to date. Produced by regular collaborator David Odlum (the Frames), there are flashes of the My Bloody Valentine influences that defined her first album, such as the epic "Theres Only Love," whose space rock guitar hooks and ethereal melodies are allowed to roam free for three minutes before the driving, 80s-tinged power pop beat kicks in, and the radio-friendly melodic pop of sophomore The Roads Dont Love You, as on the infectious, breathy backing vocals and New Order-esque basslines of "Keep Running" (whose original title, "Tokyo," was changed at the last minute due to the 2011 earthquake). But Let It Breaks 12 tracks have much more in common with her low-key and slow-burning, acoustic-driven third effort, The Hollow of Morning, as evident on the sparse finger-picking of the hymnal-like "Sorrow Be Gone," the gently strummed, eerie gothic folk of "Brittle Winter," and the languid shuffling waltz of "To Be Beside You," not to mention the hushed, haunting instrumentals "That Sky Again" and "Dont Let Them Cut Your Hair." But as well as recalling her vastly different but equally impressive previous albums, Let It Break also opens a new chapter for Hayes, as she dabbles with electronica for the first time on "Fire," which blends the muted beats and downbeat synths of early Björk with a lilting, piano-led chorus and suitably solemn guest vocals from Bell X1s Paul Noonan, and the captivating Kraftwerk-meets-Kate Bush vibes of the gorgeous "Ruin." With very few obvious singles, Let It Break indicates that Hayes has abandoned any ambitions to replicate her early success, but while its melancholic and understated nature may not make much of an impression on first listen, it soon reveals itself to be a record of beauty which only confirms her undeniable class. | ||
 | Album: 8 of 9 Title: The Dylan EP Released: 2011-06-06 Tracks: 4 Duration: 18:29 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Most of the Time (04:36) 2 Oh, Sister (03:18) 3 Not Dark Yet (05:48) 4 Its All Over No, Baby Blue (04:46) |
 | Album: 9 of 9 Title: Bones + Longing Released: 2014-11-17 Tracks: 11 Duration: 41:12 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Laughter (04:53) 2 Dreamt You Were Fine (03:23) 3 Iona (03:59) 4 Joy (03:11) 5 Dark Moon (02:58) 6 Palomino (03:42) 7 To Be Your Honey (03:34) 8 Chasing (05:00) 9 Making My Way Back (04:25) 10 Caught (02:29) 11 Bones and Longing (03:37) |
| Bones + Longing : Allmusic album Review : Working again with longtime producer David Odlum, Gemma Hayes employs reverb and denser arrangements for a more defined indie rock feel on Bones + Longing, which remains lilting and well-crafted in her delicately avant-garde manner. The reverb and occasional rough edges, like guitar finger-squeaks and gritty effects, keep the album from sounding too exquisite, a trait of her meticulous work at times, and warm the overall presentation. An artful mix of melodic earnestness, melancholic synths, varied guitar tones, and breezy romance, the album is remindful at times of the most wistful New Order and the softest Jewel, but with Hayes particular gentleness. Off-kilter moments occur sparsely but regularly, such as on the warped bit in the bridge of the sweetly catchy "Dreamt You Were Fine;" the over-a-minute-long instrumental wail leading to the end of the danceable but yearning "Joy" ("I can take another day/As long as I can see you"); or her voice breaking in "To Be Your Honey" -- originally written and recorded into Hayes iPhone, the vocal track was used on the album. This all contributes to textures not only in the sound of a moment, but through time. Lyrics throughout the album are unsettled and, as per the title, longing ("Say something that will carry me away/Say something that will make me stay"). The overall effect is a dreamy, palatable melancholy that soothes without stagnating and charms while haunting. A note to collectors: the opening track, "Laughter," is a lusher, shoegaze redo of "Theres Only Love" from her previous album, 2011s Let It Break, and also appeared as "Jets" on the 2011 compilation Velvet Ears Two, sounding similar to that version here. | ||