Hannah has been writing music since her second year of high school and also began teaching herself to play piano during that time. She continued to write for several years before building a studio and recording her debut EP, Soul Poison (1998).
Since then, Hannah's output has been erratic in quantity but consistent in quality. She has released two full-length albums as well as a handful of singles and EPs, all receiving high praise from the music press. Hannah's now-out-of-print album The Thing That Feels (2000) featured several songs inspired by Gregory Maguire's novel Wicked: The Life and Times of the Wicked Witch of the West. (Pre-dating the Broadway musical by several years.) The Thing That Feels also included "The Vampire Waltz," which is the first song Hannah ever wrote, as well as other songs all linked by the theme revealed in the title.
A few years later, as a result of a generous donation by an anonymous listener, Hannah made a video for her song "Carnival Justice (The Gloves Are Off) Part II." The video, directed by Chris Ohlson, featured puppets created by renowned Ohio artist, puppetmaster and sculptor Scott Radke. The video appeared on the Subterfuge EP (2005).
Hannah's covers of other artists' songs have also been well-received. The Meathook EP (2001) featured what one reviewer called a "soul-shredded" version of ABBA's "The Winner Takes It All," as well as Hannah's versions of Berlin's "The Metro" and Daniel Johnston's "True Love WIll Find You in the End." Hannah also collaborated with The Synthetic Dream Foundation to create "Trapeze" -- the music was composed by TSDF, with vocals, lyrics and vocal melody by Hannah.
Hannah's most recent release is Through the Gash (2007), an album that has been called "a masterwork in minimalism and stark beauty" (Absolute Punk) and "seductive and breathtaking from the start" (Gothic Beauty). Hannah writes, produces, engineers, and performs everything on her CDs. And, contrary to popular opinion, she uses no sequencing whatsoever. With the exception of drum tracks, all of the instruments and vocals are recorded and layered in real time, not looped or electronically generated or duplicated. Even the drum tracks, which are programmed using a drum machine, are painstakingly hand-altered, with some beats being dropped and others reversed in entirely specific ways.
Hannah is known for her intensely layered production and complex vocal arrangements. Her vocals, which have been likened to "wraiths filling the screen of a Tim Burton film" (High Bias), often move from clearly sung phrases and high, tremulous keening to whispered and spoken words, to vicious hisses and screams -- sometimes within the confines of a single song. The subjects and lyrics in Hannah's songs have a tendency to be obscure and metaphorical, often causing listeners to mistake her work for being fictional. In fact, Hannah classifies her music as entirely autobiographical, although not overtly so, and insists that it is actually magical realism, not fantasy, and definitely not theater. Hannah has said that she uses music to transform troubling feelings and experiences into something positive and hopeful, and that writing has served as a mechanism to work through and mend things in her life. It may take careful listening to hear all the various layers of sound and meaning, but devout listeners consistently claim that it is worth the trouble.
Hannah loves flowers, rap music and snow days, and is often distracted by bright and/or shiny objects and the perceived scarcity of cotton candy, but she says that the only thing that actually inspires her to create music is love.
Since 2020 Hannah has been releasing new digital-only music on her Bandcamp page.
Hannah has been interviewed here:
http://www.muruch.com/2007/08/interview-hannah-fury.html
http://www.adequacy.net/2008/05/interview-with-hannah-fury/
http://www.mellowtraumatic.com/images/the_mick_40_hfury_excerpt.pdf
http://vmunderground2.podomatic.com/entry/2007-08-21T00_31_49-07_00
Hannah's offical web sites are http://www.mellowtraumatic.com, http://www.antoinettesrevenge.com, and her MySpace page http://www.myspace.com/hannahfury
Hannah's Bandcamp page, with a name-your-price download of her 2015 single 'Not Sad' and all her new music since 2020 https://hannahfury.bandcamp.com
For more "information," go to:
http://www.mellowtraumatic.com/diversions_HannahBio.html
You Don't Leave A Trace
Hannah Fury Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I don't like your dirt house that much anyway
Don't you dare waste any more of my time
If you don't even like me, quit coming around
You crawl away and don't leave any trace
Yeah, it is true, you would not be the same
If you can't love me, I guess we are through
I never even showed you what I'd do to you
Run like hell
Run like hell from me
You crawl away and you don't leave a trace
It could be real or it could be fake
The details don't matter to me anyway
I don't really care if you go or you stay
Just don't run like hell
Run like hell
You would be dumb as hell to run from me
You crawl away and you don't leave a trace
Wipe that damned panicked look off of your face
I never even liked you that much anyway
But if you're not with someone, it's such a shame
I know that you're sort of scared of me
Let me be your wet nightmare, let me
I know that you're sort of scared of me
Let me be your wet nightmare, let me
I know that you're sort of scared
I know that you're sort of scared of me
I know I can never be
I know I can never be your dream
So let me
Let me
Let me be
The song "You Don't Leave A Trace" by Hannah Fury is a haunting track that speaks to the singer's need for someone to stay with her, but the person she is addressing seems to only be interested in running away from her. The lyrics are filled with vivid imagery, such as crawling away and leaving no trace, as well as the threat that if the person doesn't stop running, something terrible may happen to them. It becomes clear, however, that the singer is not as interested in the other person as she first seems, and in fact, she may not even like them that much. Instead, she just wants them to be with her and not leave her alone.
There is a sense of desperation in the lyrics that speaks to the singer's fear of being alone. She seems to be afraid of losing this person, and the idea of them leaving her without a trace is unbearable. However, she doesn't seem to be willing to put too much effort into keeping them around, as she doesn't like their "dirt house" and she acknowledges that she never even showed them what she'd do to them. Ultimately, the song is a plea for companionship, even if it's not entirely sincere.
Line by Line Meaning
You crawl away and don't leave any trace
You leave without any sign of your departure
I don't like your dirt house that much anyway
I don't care much for your shoddy dwelling
Don't you dare waste any more of my time
You better not consume any more of my precious time
If you don't even like me, quit coming around
If you have no affection for me, cease your presence in my surroundings
Yeah, it is true, you would not be the same
It's factual that you would be different
If you can't love me, I guess we are through
If you're unable to love me, then we've reached the end
I never even showed you what I'd do to you
I never displayed to you the harm I am capable of inflicting
'Cause you run like hell
You flee hastily
Run like hell
Escape with utmost speed
Run like hell from me
Flee from my presence as quickly as possible
It could be real or it could be fake
It has an equal chance of being authentic or counterfeit
The details don't matter to me anyway
The specifics aren't of importance to me
I don't really care if you go or you stay
I have no concern whether you depart or remain
Just don't run like hell
Just don't escape quickly
You would be dumb as hell to run from me
It would be foolish to flee from me
Wipe that damned panicked look off of your face
Eliminate that panicked expression from your visage
I never even liked you that much anyway
I never held a considerable fondness for you
But if you're not with someone, it's such a shame
It's regrettable if you're not engaged with another person
I know that you're sort of scared of me
I acknowledge that you are somewhat intimidated by me
Let me be your wet nightmare, let me
Allow me to become your torment in your sleep
I know I can never be your dream
I understand that I can never be your ideal
So let me
Therefore permit me
Let me
Allow me
Let me be
Let me become
Contributed by Caden M. Suggest a correction in the comments below.