You know when you go to a concert and the
band puts on such an entertaining show that you just HAVE to check out their material when you get home?
Yeah, that's what happened with me and Sir Sly. I had heard the single "Gold" a few times on XM station Alt Nation, but had never listened to the group beyond that. They were one of the opening acts on The 1975's spring tour this year, and they absolutely killed it.
The band is a blend of dark synthesizers, noisy backing guitars, and poignant lyrics that really bite quite hard at times. A past relationship that failed seems to be the inspiration for the majority of this record, as tracks like "You Haunt Me" and "Ghost" capture that bitter essence perfectly.
This album works best when all of the dark gears are moving at the same time. There's an eerie quality to much of the music here, most notably on hit single "Gold", which disappointingly never quite gets topped on this debut album. There's a brooding sense of bitter lust in vocalist Landon Jacobs' throat as he speaks of one's desire for acquiring riches and fulfilling dreams. It all may sound like a nice farewell, but there's some fangs behind these lips as he fires off phrases like "I don't owe you a single thing, not a g**damn thing", presumably to an ex-flame, or at the very least, an old friend.
The record is split between these darker moments, and then moments of light on cuts like the catchy "Inferno" and the melancholy but somehow bright "You Haunt Me", in which Jacobs' vocals sound a whole lot like Tyler Glenn from Neon Trees. I can't say the title track is doing a whole lot for me, blending a rather drum pattern with some lazy vocals that only really capture my attention during the hook, which at least can be complimented for it's catchy synth line.
I found it interesting that the band decided to make a "part 1, part 2" set of songs on their debut record with the tracks "Nowhere / Bloodlines Part 1" and "Helpless / Bloodlines Part 2". The former is lead by a sense of despair as Jacobs sings "I know that I'm going nowhere, follow me there", possibly speaking of his own self destructive tendencies when it comes to relationships.
The dismissive attitude found in "Floods" is balanced out by a clap effect and light guitar to create an odd but certainly interesting feel. The lyrics mainly revolve around a man that had a relationship go down the drain, and his reaction, which was mainly swearing her off and saying "it doesn't matter, now you're gone".
Two of my favorite tracks come in the galloping and catchy alt pop jam "Inferno" and in the powerful "Too Far Gone". "Inferno" has a haunting sense of urgency brought out by a looped synth and piano that both consistently bring auditory pleasure throughout this short but sweet track! "Too Far Gone" comes in a close second for my favorite track on the record, with an acoustic guitar line reminiscent of something from the latest Portugal the Man album. The vocals are hooky and introspective, leading into a huge soaring chorus that is backed not only by that guitar, but by a bumping drum and synth combo.
You Haunt Me is a reflective and moody record, one to really appreciated in times of despair or vulnerability in life. The majority of these songs are really well crafted, but some tend to feel stale and unmoving which is unfortunate since there isn't a song on here that doesn't show at least a little bit of potential.
4/5
-Jon (ARTV)
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Favorite tracks: Gold, Too Far Gone, Inferno, Helpless, Ghost
Least favorites: Leave You, Found You Out, Nowhere
There's a simple command found on Macintosh computers. You can press the alt key along with the letter J, and a delta symbol (a triangle) will appear (∆). Originally formed under the moniker 'Films', a band from Leeds settled on the name alt-J, named after the aforementioned keyboard command.
The trio have a unique talent and sound, unlike any other band I've ever heard, effortlessly creating vivid dreamworlds with their music. The sound can only be described as ethereal, held together by charming synths, unique vocals, splashes of electronica, and intricate guitar structures. You might brush off this group as hipster trash and a bunch of nonsense, but I find that alt-J are only truly appreciated once you discover the intricacies of their music.
This Is All Yours comes off as a very diverse piece of art, with the band playing with sounds they've never tried before, ("Left Hand Free") and focusing on getting into a more consistent groove, especially in the latter half of the album. I may have set my expectations a bit too high for this album, as I still play the hell out of An Awesome Wave. I was a bit weary of a sequel song, "Bloodflood Part II", appearing, and also the lack of a bassist, as Gwil Sanisbury left the band in early January of this year. While I do feel that the band wander a bit on the instrumentals and opt for a softer and more stripped back sound, the guys still provide plenty of gripping instrumentals and lyrical puzzles that should please the majority of their fans.
alt-J are proving themselves to be pretty damn talented when it comes to starting things off on the right foot, once again providing one of the best songs on the album in the INTRO. There's some familiar 'la la la' chants from singer Joe Newman on the cut, which slowly takes form and evolves into a full blown masterpiece, boasting huge soaring synths and a sound reminiscent of "Taro" which appeared on their last record. Lyrically, we see their hip hop influences right off the bat on the title track intro, as Newman sings lines like "I pop clips, bitch, I draw my piece to my hip". That might sound extremely stupid for a band like this to sing, but it fits so well with the confidence of this piece that I can't deny it.
The journey truly begins on the tracks "Arrival In Nara" and "Nara", both referring a city in Japan which seems to have inspired a lot of the writing on this album. From its quiet yet bold acoustic structures, the former track tackles a very dark subject in an impressive way. The story revolves around a girl drowning in a tragic accident at sea, drifting away from what we can only assume was her significant other. It's not a favorite for me, but it's definitely a bit chilling.
"Nara" sees more of a full band effort, with beautiful piano and vocals eventually leading into a synth and chime climax. Is it a xylophone perhaps? I'm not exactly sure, but the instrumentation on this track is absolutely perfect. Thom's drumming is also worth noting not only on this song, but all throughout the record. His style might not be extremely fast paced, but it incorporates many different styles of music and patterns to make a really unique sound.
All throughout This Is All Yours, alt-J seem to be painting a picture for us. That's why I feel like the album cover is so fitting, as it features splatters of paints in various colors. It's not just ONE color, it's several, just like there are several different styles of music on the album. One thing that's consistent is the odd and subtle nuances that are placed on each song. Whether it be Newman's strange lyrics that have to be studied to be understood, or an almost hidden melody, it's all about the secret treasures.
"Pusher" is one of those songs that has a different pace and style. I don't think it offers as much as many of the songs do, but the chorus is inevitably warm and memorable. Joe and Gus have a knack for creating vocal harmonies, and they really get a chance to shine on this raw and intimate jam that appears near the end of the record.
Let's take a minute to discuss the singles released preceding this record. "Hunger of the Pine" struck me as some of the best work alt-J have done to date almost instantly. It's simple in its structure, but features a message that many of us can relate to. Pining away for someone so much that it pains you to carry on through the day. Imagine that, presented to you in a crisp and delectable package, encompassing everything from a light and airy synth line to a Miley Cyrus sample ("I'm the female rebel" from her song 4x4), all without compromising the integrity of the band! If you can make a Miley sample fit that well around your brooding and dark sounding song, you're doing it right. This song might start off light, but rest assured its packing a huge punch as it progresses.
"Left Hand Free" threw the world for a loop when it premiered. Whether they wrote this song to appease their label that was demanding a more mass appealing single or not, the song somehow manages to work. It's got an odd charm to it, even though I would consider it their most 'normal' song to date. Sounds like the band might have been listening to a little bit of Black Keys material before writing this one, but hey, only the band knows how this song truly came about.
But the band still hadn't revealed their best work to us yet. "Every Other Freckle" was released as single #3, but I didn't listen until I got my hands on the record about a week ago. Even after one listen, I knew that this was it. This was THE song I had been unknowingly waiting for this band to make. Every single aspect of this song works in the most wonderful way, mixing everything from a gospel styled choir, to lustful and oddball lycicism, to roaring synthesizer solos for a sound that is unmistakeably alt-J. I can't even begin to explain the love that I have for this piece of art, so I'll stop myself before I begin to ramble. This is the best song this band has released, and will easily go down as one of the best things in music in 2014 for me.
This album is one to be listened to in full, as there's an obvious start and finish to it. I almost look at it like a journey through a forest and various other landscapes in another continent. It seems like the band wrote many of the album's tracks such as "Choice Kingdom" and "Warm Foothills" from a point of observation. Not necessarily influenced by real life events, but from somewhere in the depths of ones mind. These two in particular are growers. I don't think the casual music fan would just sit down to "Kingdom" and fall in love. Maybe I'm wrong, but for me, cuts like this mainly work in the context of a record. "Foothills" is a completely different story, quickly recognizable as one of the most beautiful moments on here. Whistling, tamborines, and additional vocals from Connor Oberst & Lianne La Havas are all in the mix on this gem, don't miss out.
"The Gospel of John Hurt" is the final track worth noting, due to its inventive feel and fascinating musicianship. They once again have a rather large build-up, which crashes into a melodic fury of chimes backed by a focused guitar line and later, guiding vocals from Newman. It's quickly turned into an overall favorite for me.
It turns out that alt-J can pull of a sequel track and a Miley Cyrus sample a lot better than the majority of us would have thought. The charm and creativity is there, but its not bleeding through as much as it did on their debut. They're craftsmen, making what they please, but this batch of songs does disappoint me slightly.
4/5
-Jon (ARTV)
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Favorites: Every Other Freckle, The Gospel of John Hurt, Intro, Left Hand Free, Hunger of the Pine, Warm Foothills
Least faves: Arrival in Nara, Leaving Nara, Choice Kingdom
