Independent Clauses | n. —unusual words about underappreciated music

Premiere: JPH’s “Song 7” video

May 18, 2017

(Sorry about the downtime! Something got corrupted and we were out of commission for a while. It’s good to be back. Many thanks to Chris Krycho for the technical assistance needed in getting us back online.)

Last year I was totally enamored with JPH’s Songs of Loss. The album is a singular wonder: a fully-realized turn of a musician putting strong songwriting powers to the difficult subject of personal grief. The sonics are adventurous but humble, the lyrics are raw, and the whole product comes off as a unique experience. There are a lot of unexpected left turns, sonically. JPH has given me the great honor of premiering the video for “Song 7” from the album today. Like the album, it’s a hushed, delicate piece that throws a different light (or lack thereof) on the subject of mourning.

The video is simple: a dancer in an almost-dark room moves gracefully. Sarah Ingel is never seen head to toe; the camera frames her at odd angles and casts her motions in unusual ways. The music takes its time starting (almost fifteen seconds of silence), and then ends mid-video; Ingel continues dancing in silence for almost two minutes after the song is over. She eventually fades away from the screen, flickering, here and there, and then gone. Grief does feel like that–it keeps going long after the events surrounding a death are over, emerging in fits and starts, in unexpected moments, in unexpected ways. It’s startling and even somewhat uncomfortable to keep watching a video in silence; that rupture of the normal further cements the connection between the video and its subject matter. It’s an unconventional music video for an unconventional album, and it works beautifully.

You can purchase the whole Songs of Loss album here. JPH is playing American Babylon this week (May 15-21), so you can catch his work there as well.

Albums of the Year: 14-8

December 23, 2016

This year I have 14 albums of the year. Numbers 14-8 are covered here, while numbers 7-1 will be covered in a few days. Enjoy!

14. State Center – The Hasslers. “An impressively smooth fusion of country, indie-pop and folk; they’re so adept at handling the genre mashing that it’s hard to pick out exactly where one stops and the other starts.” (full review)

13. 10,000 Miles – Jenny and Tyler. “This collection shows that they can really knock the songs out of the park live. They also show off how to make a live record that really works.” (full review)

12. Songs of Loss – JPH. “Songs of Loss would be hard to explain even if it weren’t so openly dealing with the loss of the artist’s father. … Imagine if LCD Soundsystem had committed to only using acoustic instruments but still wanted to make the same sort of rhythms, or if Jandek had become dancier. These are strange things to try to imagine, I am aware.” (full review)

11. Gardens – Ryan Dugre. “The solo guitar record has a zen-like focus and a clarity that make the music incredibly soothing to a harried mind. … It sounds like audio origami–complex and angular, but only when looked at up close: from afar it seems beautiful, unified, and peaceful.” (full review)

10. The Road – John John Brown. “Brilliant, drawing heavily from traditional Appalachian sounds and modern folk revivalists to create 10 songs of back-porch folk that are fully realized in scope and yet casual in mood. Brown’s dusky voice, an immaculate production job, and a deft arranging hand makes this duality possible.” (full review)

9. Crooked Orchards – Darling Valley. “Stuffed full of tunes with vocal melodies that I can’t say no to, elite instrumental performances, and enough lyrical poignancy to knock the socks off a skeptic or two. It’s the sort of album that makes you remember why folk-pop was fun in the first place.” (full review)

8. S/t – Moda Spira. “A beautiful, intriguing work that combines pensive indie-pop, thoughtful electro-pop, R&B and more into a distinctive sound. The lyrics are just as impressive, tackling the little-discussed topic of marital commitment with candor, verve, and impact.” (full review)

JPH – Songs of Loss

August 22, 2016

songsofloss

Mourning itself is so personal that it is largely insulated from standard interpretation of people’s actions: unbeatable legends stumble and expectations falter. It is so hard to deal with that some people would rather call it a mental illness. Some people write albums in response. Grief albums are not common (at least, not near as common as breakup albums), but they do exist. The Collection’s Ars Moriendi is a revelatory example. However, grief albums are uncommonly hard to review. How do you explain the sound of someone’s ache, nevermind judge whether it’s good or not? Yet people who write about music are called upon to do this from time to time, and JPH‘s Songs of Loss is the latest call to somehow muddle through.

Songs of Loss would be hard to explain even if it weren’t so openly dealing with the loss of the artist’s father. The music itself draws a triangle between outsider atonality and erratic rhythm (“Song 7,” “Song 2”), ambient electro-acoustic music (“Song 8,” “Song 4”), and atypical but recognizable singer-songwriter work (“Song 1,” “Song 6”). Each individual song leans toward one point of the triangle, but the traces of each influence stamp themselves on every piece. Imagine if LCD Soundsystem had committed to only using acoustic instruments but still wanted to make the same sort of rhythms, or if Jandek had become dancier. These are strange things to try to imagine, I am aware.

There’s one other connection to LCD Soundsystem: “Someone Great” is the rare song that sees an artist obviously deep in the mourning process turning out complex, idiosyncratic work that fits within a pre-existing ouerve. (“I Hope You Die” by Wye Oak also falls in this category.) JPH’s work here is raw with grief: the lyrics of each tune, insofar as they exist, are specifically about questions of death and dying. But the work is also carefully developed within a specific vision. Jordan Hoban’s modus operandi on this release is to create a drone and manipulate what goes on atop it. However, the drones are unusual, as “Song 0” loops a hiccuping tom-and-snare-rim beat; “Song 3” puts a distant casio on repeat; “Song 6” uses a chanted lyric stream as the base for dissonant piano; and first part of “Song 8” builds a complicated ostinato from accordion, shaker, and palm-muted guitar. The 8 and a half minutes of “Song 8” are almost minimalist in a Reich-ian way, as the guitar noodling on top of the structure is almost more “variation” than riffing.

On top of those structures Hoban’s whispery voice alternates between talking, singing, and whispering. This is a very personal record, and so I am not going to talk about the lyrics at all beyond that. The overall effect of the instruments + lyrics is much different than a standard album. I am not much for the “art can create empathy with other people” argument, because not much art has ever made me feel like I was walking in other people’s shoes. However, the atypical musical environment and close proximity with the lyrics about death made me aware that I would definitely not have thought to create this. I am aware of being very near someone else’s experience of grief. But it’s not an overtly crushingly sad release; the sadness is omnipresent, but often in the spaces between the background and the frontmatter. There’s a palpable sense of absence that Hoban has carefully cultivated. Songs of Loss is an unique album that lets you enter into a grieving process both artistically and emotionally. That’s valuable time spent, regardless of whether you’ve been through a death recently.

Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.

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