Cartesian Jetstream – Ancestors
Cartesian Jetstream are apparently the biggest psych band on the Isle of Man. Hard to argue with that kind of kudos. “Ancestor” is their second full length album. The bands’ stock in trade is shimmering, summery psychedelia, with elastic bass riffs, breezy guitars and a laconic vocal delivery. The opening title track sets the tone with a strong chorus. Give or take, the pattern is set for the album from here on. In effect, if you love the vibe of “Ancestors” the track, you will love the vibe of “Ancestors” the album. There’s a Johnny Marr-esque quality to the guitar work and a playful inventiveness in the rhythm section. “Ashes” is a particularly fine example of the best of the art of Cartesian Jetstream, as an overdriven lead guitar gives the track additional power and purpose. Another highlight is the psych groove-laden “Transparent Eyelids” which hints at an exciting potential future direction.
If anything, the album suffers from that which is also one of its main strengths: namely that there really isn’t much of a change of tempo or timbre throughout. Whether or not this is detrimental to the album as a whole will depend entirely on whether you like diversity in an album or whether you long for a band to stick to what they’re good at. Cartesian Jetstream are exceptional at what they do. I can’t help but wish they would push themselves slightly further, the potential is certainly there.
https://www.youtube.com/watch?v=Rl6-hRsqUPA
This is the video for “Little Lizards”. It is not a track from the new album, but it’s a frankly bonkers video, so I’ve included it anyway!
Ancestors is out now.
Grasscut – Everyone Was A Bird
Pre-order the album here – releases May 18th
Somehow or other I had no idea who Grasscut were when this dropped into my inbox from an enthusiastic PR person. My ignorance should be becoming a theme of these posts. Before long I had ascertained that they are, or have been at one point, associated with Ninja Tune. My interest was piqued. And then I listened to “Everyone Was a Bird”. What a record. For a taste before we go any further, watch the video below.
“Curlews” is just one of several astonishingly beautiful pieces of music contained herein. It almost defies description. I won’t sully it with words. Just listen and take it all in.
There’s a subtle directness to the beats and synth work which reminds me of Stateless at their most majestic. Before the opening track “Islander” is even through its first minute I am transfixed, as the interplay between acoustic and synthetic instruments begins to take hold. There’s an almost orchestral feel to much of this, a warmth to the sound that is both satisfying and unsettling simultaneously. The addition of strings is a masterstroke. A staggering song.
“Radar” is more driving, but features the same melodic invention and smorgasbord of instrumentation. Everything here feels just right.
It would be doing Grasscut a disservice to dissect each song individually. Over the course of its 8 tracks, “Everyone Was a Bird” draws the listener towards a different vista, as all the best music should. This strikes me as the sound of a band hitting their stride with confidence and panache, and with the full ability that their confidence is well-founded on a collection of fine songs.
Not just this, though. These are pieces of music to be experienced, to be lived. My experience hearing this album and this band for the first time was reminiscent of my first experience of the self-titled album from Stateless (the closest lazy journalistic comparison I can come up with in trying to describe this record). This is music that hits you between the eyes, and yet only grows in depth and power with repeated listens. Grasscut have the potential to become a truly important act in the weeks and months to come. Make sure you don’t miss out on this.
Jackson Scott – Sunshine Redux
Pre-order the album here (Released April 27th)
Now, this, this couldn’t be more different. Here we have the second album from 22 year old Jackson Scott, coming to us “out of the musical abyss”. Not having ever been there myself, it’s difficult to imagine what music drawn from within it would sound like, but this is inventive and vital sounding stuff. Hear the lead single “Ripe For Love” below.
Like much of the album, the song veers between blissed-out psychadelia, an almost kitsch 60s flower power revivalism and driving riff rock. The mind of Jackson Scott is certainly a creative and fertile place. While this could lead to the charge of “Sunshine Redux” being a challenging listen, those who accept that challenge will reap much reward. From the squall of “Steal Me”, the album progress to “Pacify”, the best song Brian Jonestown Massacre never wrote, but my favourite here is “Dissonance”, which veers wonderfully between sounding right and very, very wrong, as layers of echo and distorted drums seek to put the listener off what is, in effect, a jaunty summer pop tune. By the time closer “Ripe For Love II” gets in on the act, with urgent acoustic picking and some lovingly processed sounds, I’m sold. Pay attention to Jackson Scott. He’s coming for you.
Andreya Triana – Giants
Pre-order the album here (Released May 4th)
I had more than one reason to be excited to hear this album. Not only is it on Ninja Tune (most of the best things are) but it is produced by Matt Hales, a bit of a musical hero of mine all the way from Ruth and The 45s to his present day work with Aqualung and acts such as Lianne La Havas. It seems to me the man can do no wrong, whichever genre he finds himself working in. All that said, an inventive producer does not necessarily a great album make. Without the raw materials of songs, performer and performances the most energetic project can fall flat. Fortunately for Matt Hales and his burgeoning reputation, Andreya Triana has all of that is required. And she has it in spades.
Coming on like a cross between the aforementioned La Havas and Laura Mvula, this is soulful yet driving pop music for the musically switched on. Take a listen to Gold if you don’t believe me yet.
From the moment the opening brass salvo of “Paperwalls” gives way to a vocal rhythm bed and Andreya’s sonorous tones appear for the first time, the pattern is set. This is a musical album. It is never predictable, but it always, somehow or other, does exactly what you hope it will next. Take the title track as an example. Beginning with some restrained processed piano, at just the right moment some pizzicato strings are introduced, as Andreya’s vocals open out, before it all falls away into a soaring pop chorus. This is balm to the weary and cynical musical soul. Best of all, as the song builds to its height, Andreya crests the high notes with an effervescent effortlessness. No strain here. She is in complete control.
A percussive Rhodes piano riff heralds the album’s high point “Keep Running”, Triana’s call to press on. The closest the record has to a rock song, what’s fantastic is that where the lazy might introduce a crunchy guitar, instead what we have is a series of processed pianos and distant vocal inflexions. And that bass-focused Rhodes riff. It will slay you, I promise. “Now keep running, got her hands up and she knows it’s not enough today” goes the chorus. If you don’t find this repeating on you as an ear-worm, then I think you might have a problem. So gloriously textured and layered, there is so much going on in this song that I could write an essay on the way the different keyboard parts intermingle and support one another. But you’d get bored and move on, so I won’t.
The real strength of “Giants” is that this high point is followed by the kind of soul-funk beloved of India.Arie, and that Andreya and her cohorts pull off the transition in style comfortably and believably. She is capable of anything. The world is at her feet. Get in on the ground floor with Andreya Triana and her fantastic debut album.