Paul Hashemi’s latest project under the Faint Halos moniker, “I can see a million lights”, is a delicate balance of reflection and reinvention.
From its acoustic whispers to its layered crescendos, the album is a journey through memory, place, and identity, rooted in Hashemi’s deeply personal storytelling and exploratory atmosphere.
The opening track, “The Miracle Comes” sets the tone with bright guitar chords and a nuanced rhythm.
“Last Scenes of the Resistance” shifts the narrative outward, weaving a story inspired by global struggles. The song’s perspective is that of a freedom fighter saying goodbye to family. Hashemi’s storytelling really shines here, as he transforms the narrative of abstract political conflicts into deeply human moments of sacrifice and love, and the understated instrumentation allows the gravity of the lyrics to take center stage. This song is one of the album’s most poignant entries.
“Skyline Hill” is at the heart of the album. It’s a tribute to Hashemi’s formative years in Philadelphia. Through vivid lyrics and an airy soundscape, the song evokes the duality of nostalgia – comforting yet also achingly distant.
Ethereal guitar work which is punctuated by the fluttering notes of an eBow, paints the picture of the skyline as both a physical and emotional landmark. It’s a track that feels as expansive as a summer night, yet as personal as a whispered secret.
“Something to Lose” is a re-imagined previously released rock song, now stripped down to its rawest elements. Here, Hashemi swaps electric drive for acoustic fragility and draws the listener into an intimate conversation. Vocals are understated, and beautifully complemented by his daughter Cate’s harmonies which add an element of familial warmth. Subtle percussive elements, including the unconventional use of household objects, hint at Hashemi’s penchant for transforming the ordinary into the extraordinary.
Not content to linger solely in introspection, Hashemi introduces moments of tension and dynamism. “Disaster” offers a stark contrast, opening with delicate fingerpicking before erupting into a stormy instrumental bridge. The vulnerability the vocals here is palpable, and the track balances restraint and release.
Conceived as a bubbling, urgent acoustic tune, persistent fingerpicked guitars and restrained drums build the tension like raindrops that finally explode into a storm in the soaring instrumental bridge.
The closing track, “Wasted on Youth,” is a bittersweet meditation on time’s relentless march. The soaring chorus, tinged with both regret and hope, serves as a fitting farewell to an album steeped in the tension between past and future. Hashemi’s vocals carry the weight of lessons learned, while the understated arrangement leaves space for the listener’s own reflections.
What sets “I can see a million lights” apart is its sense of authenticity. Hashemi’s classical training and ‘90s rock influences are evident, but they never overshadow the album’s emotional core. The ability to fuse folk sensibilities with modern production creates a sound that is subtle, clean and timeless, and the use of unconventional instrumentation adds an additional layer of texture that rewards closer listening
In this EP, we see not only Paul Hashemi’s development as an artist but also his willingness to embrace vulnerability, both musically and thematically. For listeners willing to immerse themselves, this album offers a quiet and radiant exploration of life’s complexities.
Listen to “I can see a million lights” here on Spotify.
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