Album Review: Moth by Fana Hues
Fana Hues' third album is like a journey as she describes. Even in the face of danger, moths navigate the darkness, relentlessly seeking the light.
Fana Hues grew up in a big, musical family in Pasadena. As a child, she battled scarlet fever, tonsillitis, and strep throat, which took away her ability to sing for five years. With dedication and her family’s support, she regained her voice. She then sang and played in her family’s band, starred in her high school’s production of The Wiz, and eventually toured the country in a musical theater show featuring Elvis Presley’s music.
She creates a unique blend of pop that effortlessly transitions between sultry R&B, rock, psychedelia, and hip-hop genres. As a singer, songwriter, and multi-instrumentalist with a diverse musical background, Hues honed her skills performing in her family’s band and touring with a musical theater group before starting her solo career with the 2020 debut album Hues. Following her high-profile collaboration with Tyler, The Creator, she released her second album, Flora + Fana, in 2022, which delves into self-discovery.
On her third release two years later with Moth, Fana gears up for the road trip season with “Paper Tigers” and my summer song, “Rental.” With the latter, Hues takes us to the dance floor with this seductive tune packed with playful car-related references. Speaking of another summer song, “Til Morning Come,” with a sole guest feature, Bam Marley exhibits a dynamic interplay between reggae-infused rhythms and deeply introspective lyrics, sculpting a suppleness, love, and transformation narrative.
“What Speaks” evokes a sense of vulnerability and intimacy, inviting the listener into a space where superficial interactions give way to profound empathy and mutual discovery. Outside of “Take 2” and “Take 2.5,” Hues conjures an atmosphere of both curiosity and desperation, emphasizing that genuine connection requires more than surface-level exchanges such as the songs “Sweet Like,” “Gone Again,” and “Summer Rain.” But “Apple Picking” epitomizes a nuanced exploration of the complexities of romantic relationships, engaging with themes of desire, impermanence, and emotional introspection. Through vivid imagery, she effectively communicates the romantic notion of savoring fleeting moments, acknowledging their transience.
The laid-back “Perfect Delusion” is an evocative exploration of the paradoxical nature of an intoxicating yet ephemeral relationship. Themes of transience and uncertainty are artfully juxtaposed with moments of raw, visceral connection, as its duality is further accentuated by the portrayal of fleeting moments of joy against a backdrop of impending loss, painting a poignant picture of a complex emotional landscape. Through its evocative repetition of the refrain “What goes around comes around,” the uptempo “Down” underscores the cyclical nature of karma, positing it as an inescapable force that inevitably brings equilibrium.
“Obsessed you’re fixed on expression
Watching hands being played.”
Fana Hues poetically juxtaposes the sweetness of new love with the inevitable souring over time, encapsulating the dichotomy between the euphoric beginnings and disillusioned endings. She synthesizes her introspective lyrics with a soulful auditory backdrop, crafting a narrative that is as emotionally resonant as it is reflective of the enduring human pursuit of connection and the bittersweet reality of its impermanence. Just listen to “Matters of the Heart.” She navigates the dichotomy between spoken affection and the tangible demonstration of love, highlighting a dissonance that leaves her in a state of uncertainty and introspection. Even in the face of danger, moths navigate the darkness, relentlessly seeking the light.
Great (★★★★☆)
Favorite Track(s): “Rental,” “Gone Again,” “Matters of the Heart”