This month has seen some spectacularly beautiful releases, not least from Kwoon who produced an album of graceful wonder with their release ‘When the flowers were singing’. Junkboy is another such release which manages to be both melancholy and upbeat in the same instance.
Opening with the flute-enhanced ‘firth’ the music has a vivid soundtrack feel to it, perhaps the sort of music you may expect form a documentary about the coast or some far-flung island. Well played and perfectly produced to highlight each instrument it is a pleasant opener to the record and lulls you into the dreamscape that Junkboy inhabit. ‘Home’ sees the band introduce a distorted guitar into the mix that perfectly accentuates the tune without overpowering it; this, coupled with a dreamy pop vocal, brings to mind the blessed out pop music of Folk Implosion and Pavement. ‘Friends (part 2)’ is a departure, with all manner of instruments added to the mix and a glorious female vocal which sounds fragile yet tuneful. With the music hinting at the seventies styling of J Mascis’ solo work, there’s a retro indie feel to proceedings that is both relaxing and uplifting – a feeling that continues in the stunning ‘function of the sun’ which has a warm melody running through it.
‘Pieces in the sky’ opens with some emotive guitar work, before the vocal harmonies drift over the top, building into the pure pop heaven of the chorus. ‘Dr Rendezvous’ has a similar melody line to the previous track, but played on piano this time, before a gentle guitar line picks its way across the track. It is unconventional and striking and as the band join in piece by piece the track builds toward a slow but insistent conclusion. ‘Present’ is a more chilled-out track with a none-more-fragile vocal set to slightly de-tuned guitars and flute. ‘Stendhal syndrome’ has a more insistent dynamic, with lightly strummed acoustic guitar giving way to phased guitar and a folky feel. It’s one of the stronger songs on the album and hints at the soundtrack feel of the first track. ‘Ghosts’ is another folky track with slide guitar adding texture to the song which actually recalls ‘said sadly’ form the B-side to Smashing Pumpkins’ ‘Bullet with butterfly wings’ single. ‘On the shore’ is yet another aptly named track with flute and hints of Buffalo Springfield. ‘Let the light in’ is a more overtly pop track with soft, multi-tracked vocals reminding the listener once again of Folk Implosion. Final track ‘Tones X’ has a greater emphasis on drums and distorted vocals than any other track and it finishes the record on a high.
Junkboy is an unusual album. Laced with melancholy, but not depressing it veers between the sonic meanderings of Low and the lo-fi pop of Folk implosion but with a seventies feel that wouldn’t sound out of place on a Neil Young record. While some readers of this site may find it to be a little lightweight, listeners with eclectic tastes will be rewarded with a rich, detailed album filled with delightful touches and stunning moments. Excellent.
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