When you see that someone you have known to play in several bands in their career release a “solo” album, you never know what to expect. Will it stick to the boundaries of what has gone before or will you get something completely removed from what they have previously been a part of . Will we hear how they have influenced the bands they were part of, or will the originality come shining through.
I was sent the “Master” version of this album back in December 2018 but as the release was delayed, I decided to prolong the review. I am glad I did. With any first listen of an album, it can be dependant of when and where you first heard it. As time passed, I have realised, this album has an uncanny feel about it in that, every play is like the first. How is that? There’s only one way you will find out, listen to it for yourself, but here’s my take on it.
“Ocean Blue”, the opening track from Pete R Jonesis a great introduction for the listener. Not quite knowing what to expect from the former PIL / Brian Brian / Deptartment S bass player, we hear drums, picked minor chords from the guitar and it sets the mood but it’s not long before the signature Fender bass sound comes in to drive the song. In contrast, the first vocal which we hear almost matches the title of the song; “Ocean Blue”conjures up something calm, visceral, deep and pleasant but it has menace below the surface and that’s what we get with the chorus, the feel of the song flips as the flowing verse is disrupted but the crashing wave of sound. Great opening song.
“Liar”, the second track, and it’s a monster of a song. In your face, crunching guitar and thumping drums. The slick lyric and vocal deliver is engaging. As the chorus brings frantic lead guitar underpinned by some unexpected synth effects firing off left and right like photon torpedoes, it leads into a sublime break where the musicianship on show is impressive. This is an early favourite and could be the stand out tune of the album.
“Time After Time”has a more recognisable feel to if you are familiar with the recent Department Sofferings but Pete R Joneshas developed the sound where it has a richer texture and depth to it. The production overall on the whole album demonstrates that Petehas put his entire life and soul into this recording. There’s some real dark and mysterious lyrics in these songs.
“Basket Of Hands”, I almost anticipate John Lydon’svocal coming in at some point as there’s a PILfeel about this song. Apart from the fact that Pete is a former member, the rhythm and sonic deliver is reminiscent of some of their work. The heavily processed vocal works well and guitar hook is hypnotic. A very intense but addictive track.
“Spanish Snow”, if there’s a song on the album to show off the talents of Pete, then this is a strong contender, with the great Spanish guitar runs complimented by the pulsing bass. Another track that stands out, again, the multitracking within this album is incredible, you can hear so much going on within the song it’s impossible for your brain to interpret everything that’s going on within the first play. I have had a copy of this album for many months now and it has taken me until now to be able to understand it. Don’t get me wrong, it’s easy to listen to any form of music but when you actually digest this album, you feel like you’ve been reborn.
“The Reason Why”, as the arpeggiated synths open the song, it almost has a dance/remix feel to it. The dreamy feel of the music is contrasted by the questioning lyrics. Edgy shimmering guitars compliment the keys. The layering of the multitrack vocals is clever and draws you in as the music wraps around you.
“Psycho Drill”, it’s the bass that grabs you straight off and as the vocal bursts in front and centre, there’s nowhere to hide. There’s more slick guitar work in this song but it’s the constant vocal delivery that is like a drill inside your head. Leigh Heggarty (Ruts DC) has been drafted in on guitar for this track. There’s a remix of this song additional to the album but for the purposes of this review, we’ll stick to the original. The song pounds just like the subject matter and I feel like I’ve been water boarded by the music (if that’s even possible!). It was intense and my brain is reeling as the music fades out.
“Contrivances For The Soul”, every great album needs a climatic glorious ending. As the final song starts, the intensity of the previous song still has me breathless but the opening piano is an instant relief and as the guitar, synth and bass come in, it’s almost like the entire music library of the past 40 years flashes through my mind. I can hear my own soul bared wide open. The syncopated drums are pinned by the repetitive bassline. The soaring synths, not unlike something from Pink Floyd’s Wish You Were Here are huge. The heavily affected vocals blend in the mix and are instrumental in delivery. If it were possible to condense your being into one song, this would be it. The Id, Ego and Super Ego are all entangled within this ethereal offering. It’s a monumental ending to an amazing album. Whether it’s heard at 2am in the dark with headphones or on the bus to work, it will do it’s best to re-calibrate your being.