Our recurring feature series Track by Track sees artists guiding readers through each song on their new release. In this edition, Poison Ruin singer Mac Kennedy breaks down the band’s new studio album, Hymns from the Hills.
Poison Ruin, the metallic punk band from Philadelphia, have just unleashed their new album Hymns from the Hills. In celebration of its release, singer-guitarist Mac Kennedy has provided Heavy Consequence with an exclusive track-by-track breakdown of the new LP.
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The album comes ahead of a headlining spring North American tour, which kicks off April 11th in New York City, and runs through a May 2nd hometown show in Philly (pick up tickets here).
Heavy Consequence has already heaped high praise on the new LP, naming lead single “Eidolon” our Heavy Song of the Week upon its release in early February. And it’s safe to say the rest of Hymns from the Hills makes for a killer album.
Check out a stream of the entire album, and while you’re listening read Mac Kennedy’s track-by-track breakdown just under the players below. If you dig the LP, pick it up on vinyl or CD at this location.
“Lily of the Valley”
A song about a poisonous flower. I knew this one was going to be first on the record long before anything was tracked, and so I decided to lean into the more expressive/melodic vocal delivery as a bit of a declaration of intent. Sort of to say, “We’re just gonna go for it this time around, take it or leave it.” It’s in the Phrygian mode, and features a couple more complex ‘jazz’ chords. Despite that, the mood and approach to this song is indebted to late ’80s/’90s Ramones tracks like “Poison Heart” or ‘Garden of Serenity.’ A version of this song was going to be included on our first tape, but I decided to save it for a larger release.
“Hymn from the Hills”
Finding someone who could play notated, specific harmonica parts for this was quite the journey. I worked my way down a chain of recommendations from pro players, but many were on the road, too far away, or unable to record the track on their own. Ilya was available and able to track the part remotely. He did a killer job straight away, and threw in a couple ad libs that made the final edit. This song is about stepping beyond the realms of power, and what is lost and gained in the process.
“Eidolon”
A song about fate and evil. Being too late. Locked within a system that has been abandoned. Much like ‘Torture Chamber’ from Härvest, there is a forced mispronunciation in the chorus. This is yet another lesson from the Ramones (“Chain Saw” or “I Don’t Wanna Go Down to the Basement”). I think it is a way to create a hook, a surprise rift in the listening experience. It’s also the first of a few tracks on the album recorded in drop D tuning. This is not for the purpose of making the riff heavier, but simply being able to play full open chords, a more folky approach.
