| Jessie Jones — Jessie Jones (July 24th, 2015) ♥ |
Jessie Jones — Jessie Jones (July 24th, 2015)
•• Nikdy nebyla ani v blízkosti centra pozornosti. Jak praví legenda, Jones má fascinující skoro kino–ready backstory. Její hudba je psychedelická, podivínská, je to všechno o pohybu vpřed. Slyším občas arabské prvky se sitárovým ohábáním tónů, pomalým a zcela volným tempem a krátkodobým zrychlením. V podstatě hudební rozjímání, modlitba, dny jsou vzácné a Jessie využívá tenčí provokativní Hair–hlas. Takto ona pochopila píseň na cestě.
•• Můžete slyšet tvrdé stylové změny. Pop–folk–garáž–meditaci–art–song–roots. Prisoner's Cinema je malátné reggae, "La Loba" teatrální, Kurt Weill–ish balada. Jessie má v hlavě celou předdigitální library popových stylů a chce ji používat. (Její představivost kombinuje světlé a tmavé ozvěny z 60. let — The Doors, Love, Velvet Underground.) A ona je talentovaná skladatelka, zvlášť když může dostat píseň do bodu své vlastní primární, soudržné identity. Toto album produkoval Bobby Harlow, který má pověst na západním pobřeží jako mistr analogu. Jessie Jones píše přemýšlivé, introspektivní písničky s opojnou kombinací síly, zranitelnosti, radosti a spirituality. Písně jsou bufetem odrůd a je to hostina, na které jsem si opravdu pochutnával. Boldly breaks free. Střižená cikánka, podporovaná vzlykavými houslemi. Sama říká...: “This album is the childish part of me, the part of me who still wants everything to work out for the best,” she says. “I want to make happy music, hopeful music.” Pro fans: Ariel Pink, Kurt Vile, Yo La Tengo.
Location: Orange County, California, U.S.
Album release: July 24th, 2015
Record Label: Burger Records
Duration: 41:02
Tracks:
01 Sugar Coated 3:24
02 Butterfly Knives 3:37
03 Make It Spin 4:37
04 Prisoner's Cinema 3:41
05 Lady La De Da 5:13
06 Quicksilver Screen 4:16
07 La Loba 5:55
08 Nightingale 5:34
09 Twelve Hour Man 3:18
10 Mental Illness 1:27
Review
By Corey Henderson, Published Jul 22, 2015; Score: 8
•• Jessie Jones‘ debut solo record is a marked change from her work with psych–punk band Feeding People. Where that band focused on darker images and sounds, Jessie Jones has a bigger contrast between songs, from bright and pop–fuelled jams to quieter psych–influenced numbers.
•• Right out of the gate, Jones hooks listeners with the über–catchy “Sugar Coated,” whose jangly, acoustic –driven verse gives way to a full–on pop anthem, as Jones demands that we “Kiss the ground that I walk on.” She even dabbles in some klezmer–tinged music on hauntingly beautiful track “La Loba.” The sugary–sweet vocals of the opening track are long gone, replaced with a voice oozing with a darker, sultrier sound. This tune also features some amazing violin that dances all over the track, until it morphs into an almost surf–rock song for the final minute.
•• Therein lies the greatness of Jessie Jones: every song manages to fit very well together without sounding too similar. Instead of one picture of Jones, we get many different angles, and the composite makes up the image of a single, fascinating artist.
•••• http://exclaim.ca/
REVIEW
JILLIAN MAPES, JULY 15, 201511:03 PM ET
•• Psychedelic music is in the midst of a minor revolution, or at least one of neo–psychedelia's most pronounced revivals since the Paisley Underground in the early '80s or New Weird America throughout the second half of the '00s. While those two scenes looked to psych's closest neighbors — underground rock and folk, respectively — for help, psych circa 2015 journeys further to borrow a cup of pop sugar, as led by Tame Impala and others who obscure the line between Boomer rock and electronic music.
•• Jessie Jones, the former singer of Orange County garage–psych outfit Feeding People, doesn't quite fit into that latter category. Instead, she takes an ambling path through all eras of psych's past, from The Doors' acid–blues ("Lady La De Da") to the genre's fascination with mystical odysseys ("Nightingale," which features King Tuff's Kyle Thomas) and world music (the southeastern European seduction of "La Loba"). But like many of her more established peers, Jones excels when she mines that moment in the mid–'60s when the world's biggest bands found drugs and bubblegum followed suit by getting trippy.
•• Jones' self–titled album — her first since Feeding People's 2013 dissolution — suffers no shortage of these infectious psych–pop moments that, no matter how sticky an organ part or bass line gets, remain lithe through Jones' melt–in–your–mouth voice. For proof, look no further than the album's opening track and first single, "Sugar Coated." Led off by folk fingerpicking, the song soon reveals itself to be feast of '50s piano pop, Wall of Sound vocals, even a touch of jazz percussion. These elements should not all work together in such a tidy package — a feeling replicated all over Jessie Jones — but she brings them together for one of the best (and sweetest–sounding) musical kiss–offs you'll hear this year.
•• Jones' retro–pop streak continues throughout the LP, as her voice effortlessly soars to heights of "atomic bliss," to steal a phrase from the tempo–shifting synth highlight "Make It Spin." "Twelve Hour Man" blends junk-store percussion and a swaggering slab of organ with an articulate burst of trumpet, for a cheeky love song no less. Though the Syd Barrett sounds of "Quicksilver Screen" are matched by equally far–out lyrics, the song hints at Jones' own cosmic journey back to music following Feeding People's break–up when, as she alludes in the song, the former Evangelical Christian gave up her possessions and went looking for herself in California farm country. "I hope you find him," Jones repeats angelically, like some kind of mantra, as the song plays out. However, it sounds an awful lot like, "I hope you find it" — which is exactly what Jones does here on her impressive debut.
•• http://www.npr.org/
Facebook: https://www.facebook.com/Jessiejones4ever
Contact:
REVIEW
By TODD MARTENS
•• Self–reliance doesn't come easy to 23–year–old Jessie Jones. Luckily for her, the '60s — and her devotion to the era's pop music — happened and helped her kick some nervous habits.
•• Just listen to her explain her debut solo album.
•• "It's a very independent message, of not taking baloney from anyone, of not letting people abuse you or talk down to you," Jones says of her self–titled new album, due Friday on Fullerton's garage pop indie label Burger Records.
•• "That's been one of my problems. I let myself be a victim."
•• Press her, and Jones will slink down into herself and brush things off with clichés about learning from one's mistakes. She grew up in a strict religious household and eventually found her confidence through songs, specifically the later music of the Beatles. She's also quick to add that while her mom favored the sounds of the family's evangelical church, she also passed down some records from Talking Heads and the Clash.
•• "The rebelliousness of it paved the way for me to not have any rules, as far as writing my songs go," she says.
•• The Beatles were played regularly during the making of "Jessie Jones." "They took a lot from the pop side of music but weaved it really well with a psychedelic, dreamy, fantastical way of singing. It was very experimental," Jones says.
•• "Jessie Jones," the album, is in love with music's vinyl era, specifically the mid–'60s, when rock 'n' roll got more than a little mystical. There aren't a lot of electric guitars on "Jessie Jones," but there are strings, a sitar and a piano, and perhaps the brightest, most whimsical kiss–off song one will hear this year in "Sugar Coated."
•• A boy, presumably the one Jones refers to during an hourlong interview as "ex–boyfriend No. 2," is repeatedly told to "kiss the ground that I walk on." It sets the tone, with a cascade of piano notes, that this is an album about boldly breaking free — in sound and attitude.
•• When Jones' first proper band broke up in 2013 — the sludgy, hard rock–leaning Feeding People — a different urge to break free struck the Orange County native. She wanted to get out of Southern California, so she ran away with a boyfriend. Maybe they'd learn how to survive on a farm.
•• "We were going to be self–sustainable. You know, that whole dream? I wanted this utopian, romantic fairy tale, and it totally destroyed me," she says.
•• And yet, she adds after a pause: "Thank God."
•• Today, Jones is back in Orange, once again living with her mom — in her mom's garage, to be precise. She's still a romantic and says her wanderlust has been tamed, but her musical adventurousness is readily apparent.
•• Moments on her debut such as "La Loba" play out like a Spanish fairy tale, complete with what feels like a late–song dance spell in which it sounds as if a kitchen has been turned into a percussive instrument. "Make It Spin" goes round and round with a vintage organ that adopts carnival–like tones, and the groove of "Quicksilver Screen" saunters around vivid synths and hand claps.
•• Jones is as diverse in her vocals as she is in her arrangements. At times, this once "deathly shy kid" finds the confidence to go all operatic, as evidenced by the sitar–and–strings hymn of "Lady La De Da." Other times, Jones says her producer, Bobby Harlow, would tell her to "sing like Diana Ross." Hints of light–stepping soul appear on songs such as "Twelve Hour Man."
•• "It was all from old records," Jones says of the influences. "We were drawing from the '50s, '60s and '70s."
•• Jones describes "Prisoner's Cinema" as "dark," adding that it's the sound of "divine madness." It was written before she ran away, and Jones says the song is about "internalizing all your emotions." Sure, but it's broken up with choral flourishes, a beat that feels fashioned out of toy instruments and a breezy bass that glides more like a jingle. If there's any indication of madness, it's not in the song's upbeat arrangement.
•• It's a wide–ranging departure from her past works. Feeding People was heavy and a little bluesy. The band's songs, says Jones, were about being "angry at the church." Today, she also sings with the Death Valley Girls, a gritty garage rock group that she describes as a "dream girl band."
•• Jones, solo, is after something more floral and perhaps more spiritual. Though she says she's given up God, she admits praying to nature. She may no longer be traveling the country, living off the land, but she's a hippie at heart.
•• "This album is the childish part of me, the part of me who still wants everything to work out for the best," she says. "I want to make happy music, hopeful music." •• http://www.latimes.com/
Also:
By BEN RATLIFF, JULY 22, 2015
•• http://www.nytimes.com/2015/07/23/arts/music/review-jessie-joness-solo-album.html
Steve Ricciutti, Score: 8.0
•• http://soundblab.com/reviews/albums/7717-jessie-jones-jessie-jones-jessie-jones
•••• •••• •••• •••• •••• •••• •••• •••• •••• •••• •••• •••• •••• ••
| Jessie Jones — Jessie Jones (July 24th, 2015) ♥ |
•• Můžete slyšet tvrdé stylové změny. Pop–folk–garáž–meditaci–art–song–roots. Prisoner's Cinema je malátné reggae, "La Loba" teatrální, Kurt Weill–ish balada. Jessie má v hlavě celou předdigitální library popových stylů a chce ji používat. (Její představivost kombinuje světlé a tmavé ozvěny z 60. let — The Doors, Love, Velvet Underground.) A ona je talentovaná skladatelka, zvlášť když může dostat píseň do bodu své vlastní primární, soudržné identity. Toto album produkoval Bobby Harlow, který má pověst na západním pobřeží jako mistr analogu. Jessie Jones píše přemýšlivé, introspektivní písničky s opojnou kombinací síly, zranitelnosti, radosti a spirituality. Písně jsou bufetem odrůd a je to hostina, na které jsem si opravdu pochutnával. Boldly breaks free. Střižená cikánka, podporovaná vzlykavými houslemi. Sama říká...: “This album is the childish part of me, the part of me who still wants everything to work out for the best,” she says. “I want to make happy music, hopeful music.” Pro fans: Ariel Pink, Kurt Vile, Yo La Tengo.
Location: Orange County, California, U.S.
Album release: July 24th, 2015
Record Label: Burger Records
Duration: 41:02
Tracks:
01 Sugar Coated 3:24
02 Butterfly Knives 3:37
03 Make It Spin 4:37
04 Prisoner's Cinema 3:41
05 Lady La De Da 5:13
06 Quicksilver Screen 4:16
07 La Loba 5:55
08 Nightingale 5:34
09 Twelve Hour Man 3:18
10 Mental Illness 1:27
Review
By Corey Henderson, Published Jul 22, 2015; Score: 8
•• Jessie Jones‘ debut solo record is a marked change from her work with psych–punk band Feeding People. Where that band focused on darker images and sounds, Jessie Jones has a bigger contrast between songs, from bright and pop–fuelled jams to quieter psych–influenced numbers.
•• Right out of the gate, Jones hooks listeners with the über–catchy “Sugar Coated,” whose jangly, acoustic –driven verse gives way to a full–on pop anthem, as Jones demands that we “Kiss the ground that I walk on.” She even dabbles in some klezmer–tinged music on hauntingly beautiful track “La Loba.” The sugary–sweet vocals of the opening track are long gone, replaced with a voice oozing with a darker, sultrier sound. This tune also features some amazing violin that dances all over the track, until it morphs into an almost surf–rock song for the final minute.
•• Therein lies the greatness of Jessie Jones: every song manages to fit very well together without sounding too similar. Instead of one picture of Jones, we get many different angles, and the composite makes up the image of a single, fascinating artist.
•••• http://exclaim.ca/
REVIEW
JILLIAN MAPES, JULY 15, 201511:03 PM ET
•• Psychedelic music is in the midst of a minor revolution, or at least one of neo–psychedelia's most pronounced revivals since the Paisley Underground in the early '80s or New Weird America throughout the second half of the '00s. While those two scenes looked to psych's closest neighbors — underground rock and folk, respectively — for help, psych circa 2015 journeys further to borrow a cup of pop sugar, as led by Tame Impala and others who obscure the line between Boomer rock and electronic music.
•• Jessie Jones, the former singer of Orange County garage–psych outfit Feeding People, doesn't quite fit into that latter category. Instead, she takes an ambling path through all eras of psych's past, from The Doors' acid–blues ("Lady La De Da") to the genre's fascination with mystical odysseys ("Nightingale," which features King Tuff's Kyle Thomas) and world music (the southeastern European seduction of "La Loba"). But like many of her more established peers, Jones excels when she mines that moment in the mid–'60s when the world's biggest bands found drugs and bubblegum followed suit by getting trippy.
•• Jones' self–titled album — her first since Feeding People's 2013 dissolution — suffers no shortage of these infectious psych–pop moments that, no matter how sticky an organ part or bass line gets, remain lithe through Jones' melt–in–your–mouth voice. For proof, look no further than the album's opening track and first single, "Sugar Coated." Led off by folk fingerpicking, the song soon reveals itself to be feast of '50s piano pop, Wall of Sound vocals, even a touch of jazz percussion. These elements should not all work together in such a tidy package — a feeling replicated all over Jessie Jones — but she brings them together for one of the best (and sweetest–sounding) musical kiss–offs you'll hear this year.
•• Jones' retro–pop streak continues throughout the LP, as her voice effortlessly soars to heights of "atomic bliss," to steal a phrase from the tempo–shifting synth highlight "Make It Spin." "Twelve Hour Man" blends junk-store percussion and a swaggering slab of organ with an articulate burst of trumpet, for a cheeky love song no less. Though the Syd Barrett sounds of "Quicksilver Screen" are matched by equally far–out lyrics, the song hints at Jones' own cosmic journey back to music following Feeding People's break–up when, as she alludes in the song, the former Evangelical Christian gave up her possessions and went looking for herself in California farm country. "I hope you find him," Jones repeats angelically, like some kind of mantra, as the song plays out. However, it sounds an awful lot like, "I hope you find it" — which is exactly what Jones does here on her impressive debut.
•• http://www.npr.org/
Facebook: https://www.facebook.com/Jessiejones4ever
Contact:
REVIEW
By TODD MARTENS
•• Self–reliance doesn't come easy to 23–year–old Jessie Jones. Luckily for her, the '60s — and her devotion to the era's pop music — happened and helped her kick some nervous habits.
•• Just listen to her explain her debut solo album.
•• "It's a very independent message, of not taking baloney from anyone, of not letting people abuse you or talk down to you," Jones says of her self–titled new album, due Friday on Fullerton's garage pop indie label Burger Records.
•• "That's been one of my problems. I let myself be a victim."
•• Press her, and Jones will slink down into herself and brush things off with clichés about learning from one's mistakes. She grew up in a strict religious household and eventually found her confidence through songs, specifically the later music of the Beatles. She's also quick to add that while her mom favored the sounds of the family's evangelical church, she also passed down some records from Talking Heads and the Clash.
•• "The rebelliousness of it paved the way for me to not have any rules, as far as writing my songs go," she says.
•• The Beatles were played regularly during the making of "Jessie Jones." "They took a lot from the pop side of music but weaved it really well with a psychedelic, dreamy, fantastical way of singing. It was very experimental," Jones says.
•• "Jessie Jones," the album, is in love with music's vinyl era, specifically the mid–'60s, when rock 'n' roll got more than a little mystical. There aren't a lot of electric guitars on "Jessie Jones," but there are strings, a sitar and a piano, and perhaps the brightest, most whimsical kiss–off song one will hear this year in "Sugar Coated."
•• A boy, presumably the one Jones refers to during an hourlong interview as "ex–boyfriend No. 2," is repeatedly told to "kiss the ground that I walk on." It sets the tone, with a cascade of piano notes, that this is an album about boldly breaking free — in sound and attitude.
•• When Jones' first proper band broke up in 2013 — the sludgy, hard rock–leaning Feeding People — a different urge to break free struck the Orange County native. She wanted to get out of Southern California, so she ran away with a boyfriend. Maybe they'd learn how to survive on a farm.
•• "We were going to be self–sustainable. You know, that whole dream? I wanted this utopian, romantic fairy tale, and it totally destroyed me," she says.
•• And yet, she adds after a pause: "Thank God."
•• Today, Jones is back in Orange, once again living with her mom — in her mom's garage, to be precise. She's still a romantic and says her wanderlust has been tamed, but her musical adventurousness is readily apparent.
•• Moments on her debut such as "La Loba" play out like a Spanish fairy tale, complete with what feels like a late–song dance spell in which it sounds as if a kitchen has been turned into a percussive instrument. "Make It Spin" goes round and round with a vintage organ that adopts carnival–like tones, and the groove of "Quicksilver Screen" saunters around vivid synths and hand claps.
•• Jones is as diverse in her vocals as she is in her arrangements. At times, this once "deathly shy kid" finds the confidence to go all operatic, as evidenced by the sitar–and–strings hymn of "Lady La De Da." Other times, Jones says her producer, Bobby Harlow, would tell her to "sing like Diana Ross." Hints of light–stepping soul appear on songs such as "Twelve Hour Man."
•• "It was all from old records," Jones says of the influences. "We were drawing from the '50s, '60s and '70s."
•• Jones describes "Prisoner's Cinema" as "dark," adding that it's the sound of "divine madness." It was written before she ran away, and Jones says the song is about "internalizing all your emotions." Sure, but it's broken up with choral flourishes, a beat that feels fashioned out of toy instruments and a breezy bass that glides more like a jingle. If there's any indication of madness, it's not in the song's upbeat arrangement.
•• It's a wide–ranging departure from her past works. Feeding People was heavy and a little bluesy. The band's songs, says Jones, were about being "angry at the church." Today, she also sings with the Death Valley Girls, a gritty garage rock group that she describes as a "dream girl band."
•• Jones, solo, is after something more floral and perhaps more spiritual. Though she says she's given up God, she admits praying to nature. She may no longer be traveling the country, living off the land, but she's a hippie at heart.
•• "This album is the childish part of me, the part of me who still wants everything to work out for the best," she says. "I want to make happy music, hopeful music." •• http://www.latimes.com/
Also:
By BEN RATLIFF, JULY 22, 2015
•• http://www.nytimes.com/2015/07/23/arts/music/review-jessie-joness-solo-album.html
Steve Ricciutti, Score: 8.0
•• http://soundblab.com/reviews/albums/7717-jessie-jones-jessie-jones-jessie-jones
•••• •••• •••• •••• •••• •••• •••• •••• •••• •••• •••• •••• •••• ••