“Dear Wormwood” is about as far as a band can get from a sophomore slump. With their second full length release, The Oh Hellos prove that not only are they here to stay, but also to lead the way. Tyler and Maggie Heath, the sibling duo at the helm of The Oh Hellos, transform a new-age folk sound, re-popularized by the likes of Mumford and Sons and the Lumineers, into their own style led by a chorus of voices and diverse instrumentation, creating a “wall of sound” effect.
The inspiration for this album comes from C.S. Lewis’s Christian theological fiction, “The Screwtape Letters.” The Heaths sing passionately about dealing with temptation in what the duo refers to as “a collection of letters, all written by a single protagonist and addressed to a single recipient.”
However, the music itself shines brighter than the spiritual structure of the album. “Dear Wormwood” is a rollercoaster of an album, but instead of leaving the rider queasy and regretful, it makes them sprint back to the line, eager to ride again. Most songs feature epic climaxes that lead right into the next in transitions that aren’t seamless, but rather keep listeners on their toes. The band becomes much more than a brother and sister affair, as the backup band proves their work with fantastic vocals and foot-stomping compositions.
“Dear Wormwood” gives folk rock fans exactly what they want, and even more that they did not know they wanted. It is a purely acoustic guitar- and banjo-driven album, but it also contains the perfect amount of violins, electric guitars and percussion, creating a unique sound within an increasingly homogenous genre.
Standout songs — “Bitter Water,” “Dear Wormwood,” and “Exeunt” — all follow similar formulas, with slow starts leading into boisterous culminations filled with The Oh Hellos’ perpetual “oohs” and “aahs.” These songs certainly lead the way, but in reality, there is not a bad song on the album. “Pale White Horse” and “There Beneath” show that The Oh Hellos know how to slow it down. Sometimes all a song needs to blow the listener away is Maggie Heath’s voice.
Even the instrumental “Danse Macabre” comes to life after listeners understand its background: The song was inspired by a medieval allegory saying ultimately everyone is equal in death, and encouraging people to forget prejudices and dance in celebration with one another.
In the end, “Dear Wormwood” should go down not only as a triumph for The Oh Hellos, but also as a benchmark for the success of future folk rock albums. Their mix of sounds and styles within the album, and even within single songs, along with their ability to maintain their identity and tell a compelling story, all come together in a record to be revered.
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