The Australian psychedelic wave is on the rise; swelling at
a rapid pace. Jaqwar Ma’s debut album “Howlin” acts as summer’s swan call. The
album echoes with fuzzy memories of music festivals, sweat drenched nights, and
the golden hour of summer when you crave one last hoorah before the sun rises
again.
Jaqwar Ma’s overall sound is as consistent as the hazy beat
outside of a club at 4am. The obvious comparison any listener could make is to
Tame Impala. Acting like Tame Impala’s hyper little brother, Jaqwar Ma’s
electronic propensity dances circles around Tame Impala’s more relaxed vibes.
Lyrically, this album is quite simple. Words are repeated as a Buddhist-like
mantra. Just like repeating a word over and over, you begin to even question
this album’s meaning by the end of it. Almost to the point where you forget
what it was about – if it was even intended to be about anything. If you feel
so inclined, I have broken down each track on the album. Take your time and
have a blast. Surfs up!
The opening track “What Love” lays solid ground work for the
tone of the album. It becomes very clear that Jaqwar Ma has a loose, flowing
sound. The common theme for each track is that a techno-like beat keeps it
organized so as to not fall into the abyss that most psych-rock songs can fall
into easily.
Following “What Love” is “Uncertainty”: a track that takes
it slow but steady and is approachable. As the song progresses, it becomes
heavier and slightly more intense. The high crying lyrics keeps the song soft and
easy to follow. As the song ends, the effects break away and you’re left with a
simple beat as it fades almost seamlessly into “The Throw”.
“The Throw” is a sinuous tune. The resonant classic guitar
riffs pay you a friendly visit throughout the song and serve as a treat for
your ears. Halfway through the song, it becomes intense and repetitive as to
remind you of the tech-heavy theme in the album. It slows down slightly only to
be jolted awake by sound effects. “The Throw” then becomes a remix of itself. You
spend the remaining half of the track remembering the slightly normal song that
was just playing a minute and a half ago – surprisingly, you don’t miss it.
Next is a delightful track, “The Loneliness”. This song tips
its hat to 60’s surfer era; a slightly ironic upbeat choice for a song about
the devastating feelings of a broken heart. The irony is brought home by haunting
background laughter. The song’s structure loosens in the last minute and becomes
an abrupt electronic-psych jam sesh that fizzles away like sea foam.
Tucked away in the middle of the album, “Come Save Me” may
be the most radio friendly track on the album. It begins with a quick drumming and
the lyrics follow the beat almost militantly; until the juxtaposing chorus,
where the song breaks out into a short, sweet and simple melody. The brief
preview of the chorus hints at greater things to come. There is another moment
of militant verse, but Jagwar Ma just can’t help themselves and finish out the
remainder of the song in a melodic, fluid, repetitive, cycle.
Off the heels of “Come Save Me” is “Four”; potentially the
most techno-happy track on the album. It is full of bleeps, bloops, blorps, and
barely recognizable words. It’s as though this song was produced to remind the
listener that Jagwar Ma is not your usual jam band or techno band or any band
for that matter. This song is the toe of the album, being dipped into ‘house’
water. “Four” ends in a haze of drowning warped sound effects that sinks into
the deep end.
Here is a link to the music video. Since this is an album review, I'll keep my opinions to myself about it.
“Let Her Go” begins with a classic psychedelic sound by way of
Velvet Underground meets Beach Boys. The bridge of the song keeps with the
repetitive theme of the album. And as a “bridge” it does just that; linking a
seemingly cohesive song to (yet another) psych-rock segment.
“Man I Need” is a three minute disappointment. Unless you
enjoy hearing a man trying to sing (non-falsetto) in a range that he just sounds
uncomfortable doing, skip it.
The following track is “Exercise”; another house-inspired
techno track with just a hint of hippie. This track varies from “Four” as it
plays with the sounds of a 90’s piano being mixed and chopped with no regard.
The chirping of birds becomes a separate instrument and lyrics become almost
tribal-like chants.
Animal sound effects come back into the mix in “Did You Have
To” with the high pitched squeaks of whales (as silly as that seems, it kind of
works). After the intense ride that “Exercise” takes you on, this track is much
more relaxing. It acts as an amuse bouche for your musical palette. From the
jingle of bells, poppy piano, snapping sounds, haunting vocals, this song is so
layered, yet peaceful.
Fading up from “Did You Have To” is “Backwards Berlin”. A
dreamy little song met with wobbly keyboard sounds makes you feel as though
you’re coming down from the album. The snapping keeps you awake and helps carry
the song to its trance-like ending.
Unfortunately, “Howlin” ends with the bonus track
“Somersaults”; an awkward love song with a melody that no one would fall in
love it. Don’t test your patience waiting for this song to improve. It takes a
strange turn when a terrible flute decides to interrupt the terrible
singing.
“Howlin” is a 52 minute surf on an electronic-psych wave;
highlighted with beachy vibes, catchy melodies, and the occasionally trippy
sound effect. A few lowlights are inevitable due to poor singing choices.
Overall, this album would be great for a rave on the beach with ______ as your
drug of choice.
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