Friend of the blog and real person Leah Hennessey has an EP out this week. We’ve been engaged in a fragmentary back-and-forth ever since I lightly declared war on her project Slash back in February, following which we found ourselves torn in two and then stitched together across cyberspace. She’s been an excellent pen pal.
Earlier this week, Leah sent over the press release for her band’s first self-titled EP Hennessey, out September 11th (yesterday!) from Velvet Elk Records. I didn’t need any more of an excuse to write about her more recent activities. The EP’s first two earworms and the band’s accompanying livestreams have frequently soundtracked our flat during lockdown. To see the project fully realised is a joy.
What I remember most from that blogpost shot across the bow of the great ship Slash back in February was my somewhat barbed comment that Leah and her collaborator Emily Allen resembled “‘Nietzsche’s Last Women’ — ‘They are clever and know everything that has ever happened: so there is no end to their mockery'”. Leah posted this on her Instagram and added that she and Emily had never felt so seen. However, seven months later, it is clear Leah has fully embraced this gothic position at the end of history — and so she should. Frankly, it is a thrill to have written this as a critique only to now witness Hennessey owning it so magnificently. There is perhaps no better sign of the times.
I have been thinking about this repeatedly whilst listening over and over again to the EP’s truly inspired cover of The Waterboys’ “We Will Not Be Lovers”. A song from 1998 that is already a surreal and anachronistic “post-trad” folk number, Hennessey’s version swaps around eras and sends the song back a decade (whilst at the same time updating its sound?). It is a dizzying whirlpool of cultural reference points that results in a sound that feels weirdly adrift and out of time. And yet, what is revealed underneath is Hennessey’s own rootedness in our time-warped present.
This has arguably long been the function of a cover song — a way to emphasise one’s own standpoint through the words of another. Despite the words not being her own, it is Leah who shines through here absolutely. No transformation necessary.
This is a sentiment Leah gives voice to in the press release and throughout the rest of the EP, including on new single, aptly titled “No Transformation”, which she says
is a kind of hymn to acceptance. I’m starting by saying I’m too this or too that, repeating these criticisms I have of myself like a mantra, but instead of comforting myself by saying those things aren’t true or by trying to become someone else I’m realizing that I can only evolve or even be happy if I start from exactly where I am. I’ve spent so much of my life tearing myself apart in the hopes that I’ll rise from my own ashes and this is me breaking that cycle.
I can relate. In fact, I imagine many of us can after this weird year. We’re told so often that we are stuck and we are a pastiche generation, languishing at the end of history. For Hennessey, however, there is something extra smuggled underneath a song that we might otherwise assume is the epitome of a millennial harking for better times. This isn’t just “New Wave cosplay”, as she sings on “Let’s Pretend (It’s the ’80s)”; this is a moment to “remember what our parents forgot.” In so doing, we might break the present cycle.