Lawless by Coast Jumper

Interstellar is out on Slumberland on Feb 21st

Bowlegs: First thing’s first, I wanted to say that we love this record at Bowlegs. There is so much to appreciate and it’s beautifully crafted. It was no surprise to hear that production of the album spanned a long time. Can you […]]]>

Bowlegs caught up with singer-songwriter Jonathan Wilson before the Manchester leg of his UK tour. We talked about how his acclaimed 2011 album Gentle Spirit came about, our shared love of vinyl and his plans for the forthcoming year.

Bowlegs: First thing’s first, I wanted to say that we love this record at Bowlegs. There is so much to appreciate and it’s beautifully crafted. It was no surprise to hear that production of the album spanned a long time. Can you tell me a bit about how the recording developed?
JW: It did take a while because there wasn’t a real plan as far as a timeline. There were some sessions that were the birth of the album, but when those were done that only ended up constituting 60 per cent of the album. So the remainder was just done throughout different sessions and then it wasn’t until I did the title track that it felt like the ending of the whole thing … and I was like “it’s done”.

And then we worked on the sequence … but even that took time. Taking tunes off the album and, you know, basically taking my time with sequences, testing them on some buddies. And then from that point it took a long time to get together the team to get the thing out in the right way. Because, for me, I was very scared that it would sort of pop out at the wrong time and wouldn’t be anything.

Bowlegs: So by letting the material unwind, did you have it in your mind you were creating something that would be discovered gradually rather than an instant hit?
JW: Yeah, definitely. There are records, like Pacific Ocean Blue or Skip Spence for example … each time I listen to those albums things begin to unfold, so you hear a bit of percussion or something you didn’t ever hear. So that’s definitely something I’m interested in and like to do.

Bowlegs: Albums that are composed in this way are normally the ones that stand the test of time, right?
JW: That would be good. Yeah, that’s definitely a goal and always should be the goal … the ultimate accolade would be to create something to be discovered and enjoyed even when I’m out of here!

Bowlegs: Your sound has a real analogue feel to it, which seems made for vinyl. As a bit of a vinyl nut, I have to say that the double pack edition is a real thing of beauty – was that something that you initiated? How did it come about?
JW: So the LP was about to come out and there was talk about possibly having to cut down some songs because it was so long. I mean, at one point it didn’t fit on one compact disc … which is insane! A past of jazz and being a fan of that explains the durations of the tracks, because the album is definitely long. At the time I didn’t think that cutting it down was a problem but Bella Union stood up and said that this thing needs to be as it is and so that was how the double thing developed.

Bowlegs: Having taken such a painstaking approach to recording the album, is it a joy to take it on the road?
JW: For sure … and with this band man. This is a crack band and I was extremely lucky to be able to hand pick these guys from all the studio stuff we do together back home. I sort of have a pretty good handle on the whole town there, so which guy plays what … so this is definitely that type of band.

Bowlegs: Now I know you visited the UK last year supporting Wilco, but this particular tour feels like a much bigger deal. The album has featured in many of the ‘best of 2011’ lists and you’re getting very positive write-ups. Are you aware of the extra attention? Do you pay much consideration to the reviews of your music and gigs?
JW: Yeah and it’s actually been staggering to me the amount of positivity. Usually there’s always somebody that is trying to take the piss out of it and you kind of expect that, but that’s definitely been a distant backseat to the good vibes we’ve had. The best thing though is to be able to play a show like we just played, coming into a place that’s completely packed and the people have the record, so when you start a song they know it … that’s the best!

Bowlegs: What can we expect from tonight’s gig?
JW: The gig is different from the album in that the record is calmer and the gig will be, at times, a little more amped up! Which is, in my mind, another arc you have to build … I mean, it takes a certain artist to be able to play extremely quietly and for people to be satisfied. So we are still in the stages of trying to give a well-rounded kind of show that has got some excitement in it and not completely calm. But, you know, it has both.

Bowlegs: So what’s next – what are your plans for 2012?
JW: Back to the US on the 15th and as soon as I’m back I’m doing an album with Roy Harper, who is actually there in my house as we speak. That will be so much fun. He is ‘the shit’ and just to be able to hang out with him is a gift. The guy is one of the great poets, like hanging out with Keats or something. So that’s fucking cool. Then we’ll be back over here in spring and summer. Round about the fall is when I will put in some time on my own stuff.

Bowlegs: I’m always interested in what artists listen to. I have to be honest I find it hard to picture you listening to any current bands. But correct me if I’m wrong here, what have you been listening to recently?
JW: You’re not wrong man. I keep trying! But most of our time is spent discovering older stuff and things that we love. So we’ve been listening to Roy Harper all the time, since he’s been our friend, and we’ve been going through his whole catalogue and every little thing he has ever done. My drummer has thousands and thousands of tracks though.

Bowlegs: He’s the iPod man on tour then?
JW: Yeah man, he goes deep … very deep. So we listen to the usual suspects, like from Gong to Can, and then on this trip we’ve been listening to a lot of things from England. Actually on our last trip we got a chance to meet a guy that we really like by the name of Bill Fay. He’s great man. We listen to him a lot, plus things like The Incredible String Band and that kind of stuff. But we probably listen to 60 tracks a day, so it’s just going all over different styles. But not a lot of new bands, except people who are our friends.

Bowlegs: Finally, when I told a friend I was going to interview you they said that Gentle Spirit was a real sad record for them. There’s certainly a heavy dose of realism – Can We Really Party Today? for instance – but, for me, it’s not so much melancholy as things that you can’t quite understand. How would you sum up Gentle Spirit’s theme?
JW: Well, I was consciously trying to cover the ups and downs, the sadness and the jubilation. And definitely not be swayed particularly one way or the other. But there is an ultimate type of sadness to me, which is the things that you love and hold so dear and the fact that they are coming to an end for you and them. So definitely, when you sit down to compose an album then that is in your head at some point. But not to dwell on that. The title track to me is ultimately about some hope, that’s what I’m trying to garner. So things are not as disgusting as they might seem, because it doesn’t matter what we do to this earth, there will still be things that can grow here. So, for me, the general theme is one of hope.

-Interview by Jamie Nicholson-

Okay, thankfully I know the band’s music – their debut got some rapturous reviews a few […]]]>

I admit that seeing a trumpet player in an indie-band line-up does ring the twee alarm bell. And naming yourselves the Rosie Taylor Project doesn’t instil much confidence either. Who is is Rosie Taylor anyway? She’s certainly not in the band, so what’s with the name? It brings visions of a more mature folk group playing standards down the community centre on a Wednesday night.

Okay, thankfully I know the band’s music – their debut got some rapturous reviews a few years back, so there are no pre-conceptions here. But that doesn’t change the fact that the group’s sophomore is far too placid, pleasant and at times verging on dull.

Sure the songs are strong, sounding a bit like James Yorkston at times, sharing a folk gene and delivery that sounds effectively lazy and weathered. But with the brass blowing bouncy riffs and the all too delicate arrangements losing touch of any real direction, the Yorkston likeness fades fast.

For Esme has various guises within its four minutes, the latter half becoming a Belle & Sebastien hop-along. There’s the late night wander on Last Drinks At Niagara Bar, an acoustic stumble with solemn brass solos. The glistening ballad A Walk by Moonlight starts sparse but soon falls into the comfort of harmonies and jangling electric guitars.

As a set it becomes a pattern of twee, breezy, slow, brass, upbeat melancholy, slow and back to breezy. But none of the stages ever really leave the cosy tones they have clearly perfected – so while enjoyable, it is also too forgettable.

Singer Jonny Davis has a humble and honest voice, and the band back him with a sensitive understanding. But it all just passes you by, unable to dig deep, or provide any vital moments. It’s a shame as there is much to like here, just in a half-hearted manner.

-William Bell-