May 30th, 2010 | Features | 0 Comments
Caught the review of this guy’s latest album, Saint Bartlett, on Pitchfork, and since it was produced by one of my favourite artists, Richard Swift, I figured it was at least worth checking out. I wasn’t disappointed. Though Jurado’s brand of almost-but-not-quite folksy, mystical pop(?) is a long way from Swift’s pop/rock classicism, one could see how the collaboration might make sense, and Swift does lend a deft hand to the proceedings, resulting in Saint Bartlett’s sturdy but subtly strange and creative sound.
The closest precedents I can think of for Saint Bartlett would be Neil Young‘s After the Goldrush, and Terry Reid‘s The River. Yeah, basically the mystic vibe of the former with the almost I-wrote-these-songs-somewhere-grassy feel of the later. It’s definitely chill-out music, something you might imagine hearing in some indie movie right before the leads have sex. By the way, they’re also smoking a J in said scene.
If you’re some director looking for that song in particular, look no further than “Beacon Hill”. That’ll work and it’s plain enough to work in something like “Gilmore Girls” without this happening, which is what I assume happens when mainstream kinds of people listen to anything that’s not radio prescribed. The tracks to really look out for though are the twinkling “Arkansas”, the lonely, breathtaking “Rachel and Cali”, the clever heaviness of “Wallingford” (no getting around the Young comparisons on this one), and the lumbering “The Falling Snow”.
There are some people I know who are really gonna get obsessed with this album. Find out if it’s you by checking it out.