Jared Fairfield - Mysteries


Jared Fairfield (Of Orange Door West, Asesquimal, and Mark and/or Jared) ha completado, fuera de Villa Ningunaparte, un nuevo larga duración de canciones para lanzar al mundo. Intitulada 'Mysteries', esta es la colección más cohesiva, diversiva, y confiada de Mr. Fairyfield. Escucha la canción que da título aquí:Jared Fairfield- 'Mysteries' by jakobbattick
La música de Jared está en deuda con los vagabundos y freaks de los 60's como Pearls Before Swine, The Incredible String Band, Marc Bolan o Vashti Bunyan, pero (en mis ojos) fácilmente trasciende esta base estilística llegando a un lugar más actual, un lugar aún más cósmico y vasto, y un lugar tan surrealista que podría incluso ser considerado más allá del tiempo a pesar de ser de 'ahora'. En sus más experimentales obras, Jared trabaja en territorios de texturas noise, utilizando drones y locura al oficio de masivos muros de canciones desestructuradas, y en su punto más accesible, Jared escribe magnífico, un toque de canciones dolorosas sobre bosques de pop-psicodélico lo suficientemente buenas para romper los corazones de los nerds. Tengo que insistir siempre en el hecho de que Jared se detiene en un psycho/cosmico estilo no por el afán de estar a la moda, sino por una obsesión natural con todas las cosas que anhela. Leí una review on line de su reciente lanzamiento 'The Great Boiling Atom' que rápidamente le arrojó fuera (positivamente) como "deudor de los inicios de Devendra Banhart y sus grabaciones de cuatro pistas"
Mysteries tiene alguna especie de estructura clásica durante todo el álbum, con un ligero regreso en la canción 'Feelings' y una distinción clara y fluída entre canción y canción . Hay momentos de belleza frágil, reseca, hermosura minimalista, pero también empuja la exquisitez de su paisaje sonoro aún más. Mysteries se compone de canciones reales, canciones actuales (en su mayor parte), mientras que TGBA era más una colección de bocetos locos, y snapshots de la mente extraña de Fairfield.

Mantén los ojos bién abiertos en las raras tiendas de alrededores de Portland para recoger una copia en algún momento de este verano. Más noticias están en camino, más secretos, más canciones, más muestras, más desvaríos, más hiperbólicas alabanzas.
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Jared's music is indebted to 60s wanderers and freaks like Pearls Before Swine, The Incredible String Band, Marc Bolan or Vashti Bunyan, but (in my eyes) it easily transcends this stylistic base and comes from somewhere much more 'now', somewhere even more cosmic and vast, someplace so surreal it could even be considered beyond decade and time despite its being 'now'. At his most experimental, Jared works in almost noise/textural territory, employing drones and madness to craft massive walls of broken-structured sculpture-songs, and at his most approachable, Jared writes gorgeous, aching little woods-psych-pop songs that are good enough to break the hearts of sensitive record nerds everywhere. I have to always stress the fact that Jared comes to rest in a psych/cosmic style not out of trendiness or fashion, but out a natural obsession with all things yearning, melting, spiritual, effervescent, and fleeting. I read an online review of his recent release The Great Boiling Atom that quickly tossed him off (but positively so) as being "indebted to Devendra Banhart's early four-track recordings". NOT SO FOLKS. Jared is highly concerned with space and atmosphere, just as much as he is concerned with building wild, odd arrangements on atypical instruments (Peanut violin thing, autoharp, clavinet, $3 kazoo, kids' flute thing, etc.) and just as much as he is concerned (often) with sweet, beautiful melodies. What I'm trying to say here is that Jared has his own thing, his own sound, his own approach, his own obsessions, his own very unique spin on a whole mishmash of culture both new and old.

In listening to this new release all the way through, I can safely say that it goes several lightyears beyond The Great Boiling Atom. Whereas the latter was fractured, noisy, and only barely held itself together, Mysteries has something approaching a sort of classical entire-album structure, with a slight return on the song 'Feelings' and a definite distinction and flow between and from song to song. There are moments of fragile, whispy, miniaturized loveliness a la TGBA, but it also pushes the lusciousness of its soundscape even further. Mysteries is made up of real, actual songs (for the most part), whereas TGBA was more of a collection of mad sketches, snapshots plucked quickly from Fairfield's bizarre mind and left to rest in their early stages of development.

Over the course of Mysteries, I was most blown away by the madcap and free-wheeling range of sounds presented. The influence of 60s yeh-yeh pop (Francois Hardy or Frances Gall) is evidenced in both Jared's wild, unabashed falsetto singing, and also in the impeccable classic pop structures and sensibilities of tracks like 'Mysteries' or 'The Queen'. Then, there are the completely unexpected Fuzz freakouts like the solo at the end of the title track or 'Real Men'. There are moments of 'Mysteries' that sound like lofi garage Hendrixisms or, better yet, lost Black Sabbath absent-minded jamouts that got all fucked up and freshened up with a freer, more chaotic approach (Think The Stooges on "LA BLUES", perhaps). I could go on and on, but there are many more details to be revealed (Including the actual album cover itself) in the immediate future.

I say all of these things not because Jared Fairfield is my friend, or because he is a fellow Mainer. I am always blown away by the sheer fact that Jared is so hush hush with his work, and by the fact that more of the people who have heard it have not flipped for it entirely. 'Mysteries' is the album that, if properly put out into a scant few channels here and there, could easily convert the audience that Jared's music really deserves. I can honestly say, in my best effort at not bullshitting all of you out there, that 'Mysteries' (Although imperfect to some degree, like all things and like all local music endeavors especially) is a real sleeper classic Maine record, a valid and powerfully strong entry into this whole world of "NEW WEIRD AMERICA" (Everybody has hopefully always known that America has been really weird at its core, so I don't fully understand the urge to label it as such now and all of a sudden) hogwash that the music press and critics keep traipsing through around every corner. Keep your eyes peeled at those weird shops in and around Portland to pick up a real copy sometime this summer. More news is on its way, more secrets, more songs, more samplings, more rantings, more almost-hyperbolic praise.

o en Jakob Battick & Friends
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