Hazel Stretching Grunge With Male-Female Vocals

The band Hazel can be considered one of the early pioneers of post-grunge, forming in Portland, Oregon in 1992.  They emerged from a vibrant local scene where bands were embracing heavier sounds while keeping things melodic and vocally rich.  Hazel’s approach to grunge pushed boundaries — incorporating male and female vocals in harmony, trading lead duties, and introducing a poppier, indie rock aesthetic that was rarely seen in the genre.

Portland had the potential to become a secondary hub for grunge (but musically more like post-grunge), thanks to a wave of talented acts like Crackerbash, Floater, Sprinkler, Pond, Everclear, and Heatmiser.  While each brought something unique to the table, most struggled to break through nationally in the way their Seattle counterparts did.  Only Everclear managed to achieve widespread recognition, scoring multiple radio hits and carving out a lasting presence in mainstream rock.

Despite disbanding in 1997, Hazel left an enduring mark on the Pacific Northwest music scene.  Their live shows remain memorable, thanks in large part to Fred Nemo’s frenetic, almost theatrical dancing — a physical embodiment of the band’s emotional intensity and artistic intent.

Released 30 years ago, Are You Going to Eat That? blends college rock with post-grunge textures, layered with vocal interplay that leans into an indie sensibility.  “Blank Florida,” the lead single, opens with Jody and Peter’s vocals right out of the gate.  “As long as I forget to die, then I am fortunate,” they joke darkly, reflecting on life’s fragility with a wink. “Quick Jerk” explores fear, ambition, and humility with rapid-fire verses: “Staying glued to the hotline, I got more lies than I got time, now we’re friends on your time, I’m not equipped with rewind.” The track segues into a beautifully harmonized chorus — “I…I…I… never wanted” — and served as the album’s second single, accompanied by a music video featuring home footage and brief member intros.

“Lazy H” kicks off with jittery rhythms and a catchy chorus — “I’ll wait a long time” sing the overlapping vocals of Jody and Peter to plead their patience as a point to prove their love.  “Green Eyes” continues the theme of longing, with the line “it’s too late for you to see me” anchoring a tender harmony that forms the song’s emotional core.  The mid-tempo “King Twist” offers a moment of musical exhale, punctuated by full-band pauses and sighing vocal deliveries of the title. “It makes me feel so, I don’t know, groovy,” Peter sings, charmed.  Jody’s second verse recalls a quiet moment before a tour, watching the sun and moon rise.

“Ascension” bursts forth, confronting judgment and identity.  Peter sings, “My father’s hands, look at all the things he can’t stand, like my definition for being a man,” a poignant nod to children who feel they’ll never meet parental expectations — and perhaps a subtle reference to queer identity.  The riff following the chorus drives the song’s hook.  “Sparkle Finish” races ahead with adrenaline and emotional vulnerability, as Peter repeats, “Maybe I’ll screw it up again,” bracing for failure.

“A Perfect Pot” begins with a seemingly reversed guitar intro, resetting the mood before diving back into Hazel’s signature nervous energy.  The song tells of a dying man waiting for a housemate — possibly a lover or son — to return.  Its grungy solo and crashing cymbals mark one of the album’s heaviest moments.  At over four minutes, it’s the longest track, yet still stripped to its skeletal essence.

“Chasing After James” features Jody shadowing Peter’s chorus again as if her vocal is chasing his, singing, “asleep at the wheel, thinking about the cars he steals,” as they wrestle with loyalty to a troubled friend others urge them to abandon. “Crowned” introduces acoustic guitar for the first time, offering a gentle reprieve.  Peter and Jody harmonize about dating someone with a dull life to escape their own uncertainties.  “I’m Shattered Again” returns to grunge’s raw edge, but with melodic male-female vocals that soften the angst.  It flies by in just over two minutes, as if the band is racing to finish before the studio shuts down.

“Calliope” keeps the momentum going — fast, urgent, and driven by Krebs’ speak-singing.  The album closes with “Ringing My Ears,” a Pixies-style soft/loud meditation on a long-distance breakup after a holiday fight.  “Through December, I just waited, you got angry, I felt cheated…” Peter reflects on a brief but unforgettable affair: “I’ll carry with my years, the sound of you ringing my ears.” It’s a bittersweet finale that lingers long after the last note.

The troubles found in the album’s lyrics sit comfortably amongst other grunge-related works, sometimes specific, sometimes general in their relatability.  Ultimately, the band is not overly aggressive, the vocals don’t have much bite, and the male and female harmonies and vocal interplay are not typical of grunge but the guitar distortion and fierce playing.  They’re able to create a dark mood with tense moments and can properly communicate their frustrations with everyday life.  They work in a smaller realm where the lyrics are somewhat local and not taking on the world’s biggest problems with big proclamations.  The album was produced by the band with Donna Dresch and perhaps her punk influence were a reason the band attempted many faster songs.  Jody had already released an album with Team Dresch earlier in the year and they tended to lean into punk.  

Are You Going To Eat That? didn’t do well in sales or on the charts despite the newly famous Sub Pop label.  Critics had a mix of opinions though most agreed that Peter and Jody were excellent with their harmonies.  But it’s worth recognizing that Hazel’s albums succeed in expanding grunge with fresh elements like its pop, team vocals and college rock feel.