If there was a single, suiting word to fully describe Hozier’s music, I wouldn’t hesitate to quickly name it. It’s too bad that a single word doesn’t exist.

Andrew Hozier-Byrne, an Irishman from County Wicklow (whom I happen to share the best of all Irish birthdays with, St. Patrick’s Day of course), is taking the musical influences he’s grown up with and running with them… no, in fact sprinting with them.

The son of a musician, Hozier grew up in a house filled with the sweet sounds of American blues from artists such as Leonard Cohen and Johnny Lee Hooker. He later joined his first band at age 15, which fine-tuned his passions for soul, R&B, gospel, and blues.

Those upbringings are today the meat of Hozier’s music. His debut album, simply titled Hozier, released just a week ago, intersperses his blues roots and brilliant musical mindsets into a beautifully haunting arrangement.

Listening to the new album, it’s hard not to get chills. Each song is its own powerful expression of a very emotional musician. Hozier also makes it very evident that he values his influences, using his guitar to create his bluesy styles that mimic those of past decades. And his lyrics, well he’s putting the Greek poets to shame; every track captures his love for lyrics.

The most popular song on the album, Take Me to Church, has everyone raving. According to Hozier, it reflects a broader picture of human rights and was inspired by James Joyce’s early 20^th century novel Portrait of an Artist as a Young Man, portraying a man who defies his oppressive social boundaries. This opening track exemplifies what Hozier is all about; powerful blues guitar, chilling yet addictive vocals, and an underlying nut eloquent tone.

A favorite of mine on the album is Angel of Small Death and the Codeine Scene, a gospel driven tune with thick drums and charged guitar chords. The layered backup vocals add a ‘southern church’ flare that is irreplaceable. Jackie and Wilson is another winner, with the same heavy drums and guitar energy but with a slight touch of lightheartedness.

Work Song, a sedated melody illuminating Hozier’s romantic and love soaked lyrics, continues the heavy sound. Despite its looming presence, it creates a deeply affectionate feeling in its listeners.

Artist Karen Cowley joins Hozier in In a Week, a morbid, yet beautiful song. Such is the way he makes his music; juxtaposition is obviously a favorite tool among many.

Other powerful tracks on the album include Foreigner’s God, a live session of Cherry Wine, and In the Woods.

For music so emotional and deep, it takes someone willing to handle such haunting lyrics and powerful melodies to enjoy it. But for those who can open up to those things, Hozier’s talent is sensational, and in my opinion, quite addictive.

You can find Hozier on iTunes and in stores now.