Jagwar Ma – Howlin’

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.