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Jay
Farrar - Terroir Blues
Not much on an introduction needed to these pages for Jay Jarrar. Erstwhile member of Uncle Tupelo - one of the cornerstones of the altcountry movement; and latterly the leader of the equally important and influential Son Volt, whose ‘Trace’ album is often cited as the definitive altcountry album. While Son Volt take an extended (maybe permanent) respite Jay has been stepping out on his own, firstly with his debut solo album ‘Sebastopol’ and its little brother (or sister) EP ‘Thirdshiftgrottoslack’ and now with the second full release ‘Terroir Blues’. Over the course of twenty three tracks (six instrumental interludes that complete form the aptly titled “Space Junk”) we are treated to a intricate formula that sees him revisiting the folk roots of his earlier inspirations whilst at the same time taking his music into a far more complex region where innovation is the key. The music is founded in the main on a simple mix of guitars, spartan piano, occasional strings and even flute, with as ever Farrar’s plaintive vocals drifting nonchalantly over the surface. ‘Terroir Blues’ is a great album, no question about it, releasing it on his own label has allowed Farrar new found freedom and this in turn has opened creative floodgates, with no record company executives to worry about, Farrar is free to investigate his muse, and the result is one of the finest albums he has ever made. “No
Rolling Back” sets
us off on the journey, a
brooding acoustic number
with a minimal arrangement
to surround it, an approach
that permeates the majority
of the work on the set.
“Fool Kings Crown”
is perhaps the one track
that I would have left in
the can; not that it is
a bad piece; rather that
it fails to dovetail with
the rest of the album. Somewhat
reminiscent of Tom Wait’s
‘Raindogs’ sound,
it is an interesting departure
but alongside the beautiful
simplicity of some of the
other material it just kind
of grates. “Hanging
on to You” appears
in two versions, the first
utilises a lazy sub-reggae
rhythm and guitar/piano
with some steel thrown in,
the second an altogether
more forceful take and one
that lifts the full potential
of the material to its appropriate
heights. The same ‘two
take’ approach is used
on the set opener “No
Rolling Back” and “Heart
on the Ground”, in
each instance the second
version seems to benefit
from its fresh perspective
giving a vivid illustration
of what transformations
an artist can make, subtle
or not, in interpreting
their material. ‘Heart
on the Ground’ features
beautifully atmospheric
slide guitar and the kind
of lyrical and musical structure
that made his Son Volt work
so attractive. The melody
is delicate yet intensely
effective and as the song
progresses it builds, Farrar’s
vocals soaring, reaching
new heights of expression
and the drums which filter
in just prior to the climax
adding weight to the already
dramatic effectiveness of
the arrangement. “Heart
of the Ground II” makes
use of an almost naked piano-guitar
arrangement which whilst
not as immediately striking
as its twin, is nonetheless
a powerful example of how
a different path can take
you to just as great a place.
When faced with the choices
I assume that sometimes
the decision is impossible
to make, so Farrar has taken
the option of allowing us
to decide. “California”
is one of those ‘on
the button’ Farrar
compositions, probably the
most fitting of the title
altcountry of the album,
but that is not to demote
the quality of the rest
of the material. “Dent
County” is a sublime
blend of Farrar’s vocal
and a cinemascope of piano
and steel guitar that wields
an unreservedly beautiful
melody that will stay with
you forever. “Ceremonial
mounds in the back yards
and towns The interludes that manufacture the “Space Junk” suite are interspersed throughout the set, and serve as would a cleansing glass of water in between courses of a particularly sumptuous meal. Constructed via some less conventional instrumental dalliances they allow you to take in what has just passed and prepare for what is to come. This is an album that will ultimately prove to be the record that establishes Farrar as a solo performer and that will highlight his incredibly mature and crafted talent. The earthier mood that has been fashioned here exemplifies expectations far more closely than the previous rhythmic explorations that graced his debut. Undoubtedly, this is going to be the album that will on top of many people ‘best of 2003’ lists. Once the whole album has been fully digested and the songs have reached into your heart you will find it hard to displace. The song writing is wonderful, the set feels considerably less disjointed than ‘Sebastopol’ even with the instrumental intermissions and the alternative takes. The bucolic atmosphere suits Farrar well; his voice sits more comfortably on a musical platform laid bare, the songs flowing effortlessly filtering through with ease. ‘Terroir Blues’ is highly recommended; will prove soon to be essential and will ultimately become an indispensable landmark in the career of one of the finest artists in the altcountry genre. *The remains of the most sophisticated prehistoric native civilization north of Mexico are preserved at Cahokia Mounds State Historic Site. Within the 2,200-acre tract, located a few miles west of Collinsville, Illinois, lie the archaeological remnants of the central section of the ancient settlement that is today known as Cahokia The
Official Web Site For Cahokia
Mounds State Historic Site |
