On their sophomore album, “Big Swimmer,” Liverpool’s indie rock duo King Hannah dives into the deep end with a confident stroke. Composed of Hannah Merrick and Craig Whittle, the band builds on their debut with a collection of songs that balance the stark with the beautiful, the mundane with the extraordinary. If their first album, “I’m Not Sorry, I Was Just Being Me,” was about finding their footing, “Big Swimmer” is about diving headfirst into new experiences and letting those experiences shape their art.
The album’s journey is as much physical as it is emotional. Touring the United States for the first time, King Hannah found themselves amidst landscapes they had only seen on screens. The deserts of New Mexico, the bustling streets of New York, and the endless highways stretching across America’s heartland all became part of their narrative. As Merrick noted, “When you’re visiting a different country, it’s more like you’re witnessing someone else’s life.” This sense of voyeurism, of being an outsider looking in, seeps into the album’s lyrics and soundscapes.
Opening with the title track, “Big Swimmer,” the album sets the tone with Merrick’s voice stretching out with the kind of courage found in Joni Mitchell’s “Free Man in Paris” or Weyes Blood’s “Andromeda.” The guitars, played by Whittle, are sharp and precise, cutting through the mix like oars in water. The song is a testament to perseverance, a theme that recurs throughout the album. Merrick’s vocals are complemented by indie stalwart Sharon Van Etten, whose contribution feels like a warm endorsement from a seasoned artist to a rising star.
One standout track is “Milk Boy (I Love You),” which captures a tense moment observed near a Philadelphia venue. The song’s narrative—an altercation between a young boy and a man—unfolds with Merrick’s smoky storytelling layered over Whittle’s scorching guitar work. The imagery is vivid, painting a picture that is both disturbing and compelling.
“New York, Let’s Do Nothing” provides a romantic counterpoint, with its day-in-the-life montage of the city that never sleeps. The track wouldn’t feel out of place on Sheryl Crow’s “Tuesday Night Music Club” or Television’s “Adventure,” blending a sense of nostalgia with a contemporary edge. This balance of light and dark, of harsh reality and tender moments, is what gives “Big Swimmer” its depth.
Another highlight is “Somewhere Near El Paso,” which plays out like a series of faded billboards along a desert highway. Neil Young’s influence is palpable here, as the song weaves through snapshots of motel rooms, blood-stained sheets, and lottery dreams. The track explodes into a powerful crescendo, a musical personification of the yellow stripes on the road blurring into one continuous line.
Merrick and Whittle’s chemistry is undeniable, and it’s most evident in their songwriting dynamics. Merrick’s lyrics often come from a place of anger and harsh reality, while Whittle’s contributions lean towards the romantic and the beautiful. This push and pull is what makes their music so captivating. As Merrick puts it, “I write quite harsh stuff, that’s maybe more disturbing or difficult.” Whittle, ever the optimist, counters, “You write lovely things, too!”
Producer Ali Chant, known for his work with Aldous Harding and PJ Harvey, brings out the best in the duo. Recorded live, the album captures the raw energy of their performances, a goal Whittle emphasized. The studio’s intimate setup, with guitar amps stacked even in the bathroom, helped recreate the feeling of a live show. This approach pays off, giving the album a sense of immediacy and presence.
“Big Swimmer” also showcases the band’s influences in a way that feels fresh rather than derivative. “Suddenly, Your Hand” nods to Bill Callahan, while “Lily Pad” recalls the haunting melodies of Slint. “John Prine On the Radio” is a loving tribute to one of their favourite songwriters, painting a cozy domestic scene that contrasts with the album’s more intense moments.
Humour and wit are sprinkled throughout the album, adding levity to the darker themes. “This Wasn’t Intentional,” inspired by the film “Aftersun,” closes with a sprawling instrumental breakdown that reflects the film’s impact on Merrick. The track “Davey Says” is a playful yet profound mantra about taking things slow and trusting the journey, a lesson that seems to have guided the band through their own experiences.
King Hannah’s ability to blend their influences while carving out their own identity is what makes “Big Swimmer” so engaging. Merrick’s vocals draw comparisons to Hope Sandoval and Cat Power, but she brings a unique presence to each track. Whittle’s guitar work, influenced by the likes of Jimmy Page and Jack White, is both precise and expressive.
“Big Swimmer” is an album about finding balance. It’s about the line between swimming and drowning and the moments that make it all worthwhile. It’s a record that invites you to dive in, to let the music wash over you, and to emerge on the other side with a new perspective.
BIG SWIMMER IS OUT MAY 31ST VIA CITY SLANG
