New York-based chamber-folk songwriter and composer Dash Hammerstein has scored projects for Netflix, Hulu, and HBO (among others), and his songs have been licensed for international commercial campaigns by brands including Adidas and Toyota (his music even aired during the recent Super Bowl commercial break). Pretty impressive!
His new self-titled album is his 10th album in as many years, and came out of a period of newfound creative sobriety and experimentation. Dash says this collection of songs is his most honest to date.
‘Anyone Can Catch’ – Dash’s delicate, yet precise vocal has perfect clarity. It has a real throwback vibe too – it feels like some forgotten indie film soundtrack. The woodwinds and subtle backing vocals add wonderfully organic analogue sounds and a lived-in texture—you can almost hear the valves humming and the tubes breathing—a cool tale of the joy of connection, coupled with the fear of losing it.
‘Pain In My Heart’ – The insistent piano sets the tone here, and – together with a slightly guttural vocal – I got distinct hints of Elvis (believe it or not!). There is constant tension and some epic buildups with soaring strings that add cinematic drama.
‘Noise Machine’ – Dash shows off yet another side with a much lower vocal register. It’s so characterful and distinctive. There’s an innocently upbeat rhythm (featuring the first snare of the album so far!), and a slightly quirky atmosphere which is helped along by some humorous lyrics:
“And I’m shutting out the rain and turning on my noise machine
It’s set on cabin downpour or drizzle over lake
I know it’s not the same
It’s duller than the real thing
But I am calibrating and it’s all that I can take”
‘Do I Have To Be The One’ – Another track, another completely different feel! Cavernous reverb and a poignant piano give this a grand, sweeping sound. The lush string section and big melodic ideas create a wonderful drama.
‘Mr Resistance’ – Combine Stevie Wonder, The Beatles, and ELO, and you’ll have a good idea what this song sounds like. A masterclass in creating an exciting arrangement – it’s like 5 songs in one, and seems to span multiple eras. If you’ve ever had a devil on your shoulder stopping you from embracing change, this one’s for you! As soon as this one finished, I had to listen again. And again!
‘The Hammer’ – Like melting butter, the lush vocal harmonies drip from this track. I loved the analog grain here too – I was transported to an underground, smoky club with a soulful, well-seasoned in-house band. Like an old, tattered photograph, this tells a heartfelt story.
“Oh dear maker
What’ll it take to know the story’s end
Can I pull back the hammer?
Or am I waiting on a train around the bend?”
‘Second Thought’ – The wonderfully creative cadence feels like we’re riding a stormy sea as the melody lurches up and down in waves. At times, it feels like Dash is channeling Ray Davies of The Kinks. Layer upon layer of backing vocals and plucked strings add an electrifying, glowing warmth as claps and tambourine ring out.
‘Funeral Song’ – Despite the subject matter, this is an energetic and foot-tapping track that’s alive with jaunty melodies and an optimistic feel. Once again, there are twists and turns to keep you on your toes; it’s bursting with exciting ideas and melodic flourishes, with fantastically cinematic moments and an overall gospel-like energy and uplifting spirit.
‘A Cure At Last’ – Bright guitars and vocals burst forth in a more traditional, Dylan-esque track. It really leans into that vintage, nostalgic character and has some humorously wistful lyrics:
“Yesterday keeps creeping over my shoulder
And I’m powerless to stop it taking hold
That is until some scientist can keep me getting older
Oh can anybody save me getting old?”
‘Jack’ – A simple track with a mellow flow and a very intimate, close vocal. Once again, you can hear Dash’s composing prowess as this would be perfect for a musical or film soundtrack. It’s a slow-burning, matter-of-fact delivery for this bittersweet story.
‘Sixteen Pages’ – The album closer seems to be channeling Johnny Cash with that low, resonant vocal and a simple, country-tinged backing. I loved the darkness here and the heavy atmosphere. This hypnotic final track is one final musical curveball.
This album is like walking through a hall of mirrors – with each moment, perspectives shift, and before you can settle, things change again. Every track is a collage of ideas and complex, layered arrangements, coupled with disarmingly direct lyricism. There are so many hooks and lovely little melodic snippets that you have to go back and revisit these songs to grasp all the details fully.
Dash crams so much personality and expression into each performance, with each song different from the last. It’s a showcase of nuance and artistry, and with strings, horns, and woodwinds sprinkled throughout, the album is soaked in beautifully traditional, handcrafted ideas.
This is Dash’s 10th album, but the first to carry his name in the title. It feels perfectly timed, as ‘Dash Hammerstein’ is a true showcase for his unique, idiosyncratic vocals and honest, personal songwriting.
Written by Grubby
