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Jack J: Opening the Door Album Review

Jack J: Opening the Door Album Review

vancouver mood shack broke out final decade with a resin-fingered new-age aesthetic, a choice for vinyl releases, and a easy, chord-scented tackle deep home knowledgeable by what they name the “Canadian Riviera” or “soft water city.” “. Though their sound anticipated the buzzy “lo-fi home” movement that would become ubiquitous online a few years later, Mood Hut has eschewed publicity and released a number of albums, EPs, mixes, and compilations (many of which were not released). were available). digitally until 2018) in a discreet clip. Australian-born co-founder Jack Jutson has been particularly reticent. His last two releases as Jack J, the one from 2014 MH007 and 2015’s “thirsty”/“Atmosphere”, are among the label’s crown jewels, but it has avoided cashing in on its publicity with a full-length album, or even another Jack J release, until now.

But Opening the door offers nothing like the ultimate culmination of the Jutson sound. In keeping with Mood Hut’s tendency to be guided solely by the search for the perfect vibe, the album is a light-hearted collection of deep house, dub, yacht rock and ambient sketches that sounds great on a sunny afternoon walk. Just three tracks, all on the first side, sound like dance music, and Jutson’s heavy, slurred hi-hat is often the only thing that affiliates them with the house. The remaining tracks patiently drift to reggae or R&B tempos or, in the case of “Clues Pt. 1” and “Closing the Door,” cut the drums to focus on watery ambient textures infused with Linda Fox’s saxophone and pearly guitars. in the background they sometimes approach the lazy rock atmosphere of their fellow Canadians. Mac DeMarco and house smoothie.

Jutson’s soft, slightly raspy voice has often appeared in his music as a seductive murmur or as a source to treat as a sampler. He now he is singing real songs, more or less. “If You Do not Know Why” opens with a rousing drumbeat familiar from Jutson’s earlier work, but soon his circular mantras of calm slip into frame, snaking away from the rhythmic grid: “If you do not know why/If you do not know why you cry/I will ​​move by… Let’s get collectively and do not know why.” “Solely You Know Why” describes Jutson’s own anguish vaguely but poignantly: “I used to suppose that if I bought misplaced I would be simply discovered. / I took a incorrect flip and turned my entire world the wrong way up.” These are somber lyrics for such sunny music, hinting at disappointment and mental anguish, and there’s a sense that these quiet songs are pushing against a world of suffering. There has always been a slight melancholy in Jutson’s productions, as if the sun has risen but the shadows lengthen, but Opening the door literalizes it.

However, these high emotional stakes cannot keep Opening the door to feel a little light, especially given its long gestation. Its eight tracks hover around four to six minutes each and, conspicuously, there’s no obvious epic or clear climax like MH007 “One thing (On My Thoughts)” or “Not Obligatory” by Jutson’s Pender Street Climbers duet with Liam Butler. Temper Hut’s insistence on working on his personal hours means that is both deliberate or outdoors of Jutson’s sphere of curiosity. However a Jack J function movie that sustained the dimensions and ambition of MH007 or Pender Avenue Steppers’ life in the area mixtape might have towered over Temper Hut’s catalogue, as an alternative of becoming simply alongside it as a joyous and pleasant launch on a label that has put out loads of these.


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Drashti Jain