Instrumental skill and and an ear for arrangement of sound are the bare bones of creating music, a fact clearly recognized and achieved by each member of The Jean Jackets as revealed on the release of the first half of their double album Field Theory Blues. Though the members of the Brooklyn based four-piece spend most of the year separated, the unity of their sound reflects a deep connection. This cohesion is exemplified most impressively in the vocals, featuring a moving combination of male and female singing.The listener need look no further than the second track, “The Fantastic Vision” for a showcase of Jackson Phinney and Christine Spilka’s beautifully matched voices. Spilka smoothly lays down rhythmic background vocal lines while Phinney pours out the emotional lead (a common theme on Field Theory Blues). Using his strong vocal ability, Phinney consistently matches and often creates the intensity of each track, furthering the music’s cohesiveness. Spilka takes on the role of lead vocals in a few songs, most elegantly in “Morning” which reveals her range and strong tone.
The element of percussion and drums is always notable and rarely straightforward throughout the album, creating a unique dimension to the rhythmic section of every song. This does not distract from the melody, however. On the contrary, the drums elevate the most powerful musical elements to emotional peaks, built with intelligence and skill. “Golden Ratio” may be the most unique song of the lot, featuring a fantastic implementation of the cajon, a six sided box-shaped percussion instrument. The track simply demands dance, even if only by swaying the shoulders.
Though each bass line is also constructed with skill and a clear knowledge of its role (resembling a classic jazz sound in the most impressive moments), the bottom end is sometimes lost in the mix. When the bass does work its way through the dominating blend of guitar and voice it completes the unique and exciting rhythm section driven by the drumwork. The smooth, flat tone creates a solid foundation for the other instruments to build on, but shines in its own right on songs like “Slow Lane” where the pitch is higher and the complex work revealed in full.
One of the album’s most powerful tracks is “Girl/Room” which begins with a sensitive mix of guitar and voice, then launches into a soaring duality of vocals between Phinney and Spilka that lays siege to the soul. The track ends after retreating into a sparse guitar solo, leaving all aspects of sound satisfied. The conclusion of Field Theory Blues, “Shops”, provides a final emotional climax, culminating in a soundscape of primal vocals mixed with heavy drums and crashing cymbals after a dramatic buildup of shimmering guitar and haunting voice.
Perhaps the Jean Jackets’ most admirable quality is variety. The band seems to wipe the slate clean with each song, leaving the listener fascinated at what will come. Through the male/female interplay in the vocals, the occasional incorporation of brass instruments, and shifting rhythmic moods, every moment feels spontaneous though their approach is thoughtfully constructed. Every member of The Jean Jackets is highly skilled at their instrument and no stranger to the art of songwriting. Fans of Field Theory Blues can look forward to the release of the second half of the album in March.
WORDKRAPHT Rating: 4 Stars!
Album Name: Field Theory Blues
Date Released: December 2013
Genres: Pop Rock, Experimental
Location: Brooklyn, NY
Band Members: Jackson Phinney (Guitar, Vocals), Dominick Knowles (Drums, Percussion), Christine Spilka (Guitar, Vocals), Joe Marotta (Bass, Saxophone)
Website: www.thejeanjackets.com
Facebook: www.facebook.com/thejeanjackets