Review: PREYRS ‘The Wounded Healer’
‘Inspired by highly influential Swiss psychiatrist Carl Jung’s writings on ‘the wounded healer’ which explore the concept of an entity, be it a person or a nation, developing the capacity for empathy and healing through welcoming and embracing their own past traumas and vulnerabilities, The Wounded Healer is itself proudly full of dualities, conflicts and juxtapositions.’
Not wishing to drag this review down with my own social commentary, it might not be the most fashionable concept right now, but empathy is a vital human component that seems currently in short supply. Disagree with me if you like, but we certainly seem eager to rush to a strong man view of the world these days. However, without empathy, forging an emotional connection to the lyrics of a song, simply wouldn’t exist on a fundamental level.
That connection is very much the end goal of PREYRS, the brainchild of Belfast-based rock artist Amy Montgomery and multi-instrumentalist/producer Michael Mormecha (frontman of Mojo Fury and manning the desk for artists such as The Bonnevilles).
Beginning by busking on the streets of her home at the age of fifteen, Montgomery would meet Mormecha and form a musical partnership that endures to this day. Unlike previous collaborations, PREYRS puts the focus on the entity rather than solely Montgomery, although undeniably, with her vocals being such an intrinsic part of the sound, a lot of the flow and feel of the album builds around her impressive performances.
As for the music itself, it is a striking, dynamic, ever-shifting journey that seeks to tell a story through stylistic twists and turns. Steeped in influences from grunge, electronica, psychedelic doom and arthouse sensibilities, The Wounded Healer positively undulates and contorts as the band explores the Jungian psychology in pursuit of meaning and purpose.
Fittingly beginning with Montgomery sparsely backed by moody pulsing synths repeating the mantra ‘Humble Eyes, Humble Nature…’ on the intro to Humble Eyes, it sets the tone and introduces you to her impressive, captivating voice. One thing that the duet do is harness her range to exploit the emotional narrative and showcase that she has whatever the equivalent for ‘aura’ for singers is, putting her in the vein of Julie Christmas, Chelsea Wolfe and fellow Pelagic Records roster member Rebecca Need-Menear (Anavae/i Häxa).
Wave Of Wisdom breaks the tension with a quirky electro-disco vibe that recalls the short-lived Snake River Conspiracy as the beats batter and guitars sheer off in the background, with the track driven by the synth. Over the distorted, stuttering rhythm, Montgomery writhes from low, determined intonation to soaring wails and snarled articulations all within the funky, danceable vibe.
The dub clicks and bobbling notes of Into The Blue see the band shift gears again to bring the focus down to clean sung, urgent notes. One thing about The Wounded Healer is that it never settles. The band constantly evolve so here the gothic/nu wave swells of the chorus become a cathartic exhalation as they expel one emotion before they glide into the next.
Steeped in influences from grunge, electronica, psychedelic doom and arthouse sensibilities…
Beginning with the grinding menace of the fuzzed-out guitar, Zeros, Ones & Lies gradually steps up until the towering, chugging run. Far from conventional, tracks like this and the following breakbeat heavy of Bring Ur Bruises hit hard both sonically and lyrically, with Montgomery pleading in that rich, blues-soaked voice, ‘run like wolves do’.
Catchy and reminding me of the first Orgy album, Crucify has a ‘90s alt-rock, industrial grooving heart that owes as much to old school EDM as it does Trent Reznor. Contrasting with the more smouldering anthemic feeling of Change Change, it allows Montgomery to stretch her vocals and Mormecha to show off his licks, reminding the listener that the expansive platform provides the space for the captivating performances.
No better is this showcased than on the eponymous title track, The Wounded Healer, that’s also the longest track on the album, coming in at a supremely digestible five minutes. It builds once again from bass tones and sparkling electronics as Montgomery pulls your focus in slow, sultry proclamations before it explodes into a stomping, pounding beat with an almost glam rock-like feel. As the pumping tempo has you tapping your feet and nodding your head, the vocals move from powerful to vulnerable, from assertive to tender introspection before returning with full force.
Nova, by comparison, almost verges on a partial rock ballad and Euro-pop. It wouldn’t be out of place to see parts of the track nestle beside ‘80s chart tracks with an almost Cranberries-type off-kilter feel to the sincere, passionate edge as they build towards the final tracks.
Those numbers, W.D.I.F.L? and Life Is Kind form a hazy pairing with the former feeling like it should end the album. The dramatic and passionate lyrics and the stirring piano feel like PREYRS have reached the end of a journey that (from an interview Montgomery gave to New Noise Magazine, Nov ’25) set out to ‘encourage justice, awareness, and transformation too in search of the truth’.
However, the final track, Life Is Kind, shows the protagonist learn and grow, leading to a hopeful, triumphant burst of celebration that leans on a positive message with a gospel-like resonance which rings with radiance.
When I got The Wounded Healer, I was snowed under with reviews, and sometimes the temptation to speed through them to get to the next exciting and shiny thing can have a negative impact, but I was determined to give PREYRS the attention they deserved. I am glad for that restraint as this is not an album to rush. It is so densely layered and complex beneath the surface of the vocals that it took a while to let it all sink in. There is no doubt, though, that their secret weapon is Amy Montgomery, and after listening to this album, I feel I could listen to her sing my weekly shopping list.
Label: Pelagic Records
Band Links: Facebook | Bandcamp | Spotify | Instagram
Scribed by: Mark Hunt-Bryden
