OK

Při poskytování služeb nám pomáhají soubory cookie. Používáním našich služeb vyjadřujete souhlas s naším používáním souborů cookie. Více informací

Jo Passed — Their Prime (25 May, 2018)

Jo Passed — Their Prime (25 May, 2018)

                          Jo Passed — Their Prime (25 May, 2018)Jo Passed — Their Prime (25 May, 2018)→     Dreamy but aggressive guitar~based indie pop from Vancouver, led by guitarist and songwriter Jo Hirabayashi. Jo Passed originally consisted of Jo and his friend and drummer Mac Lawrie. The two moved to Montreal together, and toured the far~right corner of North America. After Jo’s return to Vancouver, multi~instrumentalist Bella Bébé joined the band in January of 2016, and multimedia artist Megan~Magdalena Bourne joined on bass, after working on a video for the song “Rage” (from Jo Passed’s ‘Out’ EP).
Formed: 2015 in Vancouver, British Columbia, Canada   
Location: Vancouver, British Columbia, Canada
Genre: Grunge punk
Album release: 25 May, 2018
Record Label: Sub Pop
Duration:     42:51
Tracks:
01 Left     4:55
02 MDM     3:13
03 Glass     3:31
04 Undemo     3:33
05 Facetook     1:43
06 Repair     4:41
07 R.I.P.     4:23
08 Millenial Trash Blues     3:40
09 You, Prime     2:30
10 Sold     3:17
11 Another Nowh     1:11
12 Places Please     6:14
Credits:
→     Elise Bouer Violin
→     Liam Hamilton Drums
→     Spencer Hargreaves Bass
→     Joseph Hirabayashi Bass, Composer, Engineer, Guitar, Lyricist, Mixing, Orchestration, Photography, Piano, String Arrangements, Tape Machine, Vocals
→     John Kastelic Viola, Violin
→     Bella McKee Guitar
→     Martin Reisle Cello
→     Daniel Ruiz Drums
Review
Rob Hakimian, 27 Feb, 2018.
→     Vancouver band Jo Passed have today revealed their signing to legendary Washington label Sub Pop, as well as the details of their debut album Their Prime. Put those two things together — Jo Passed Their Prime — and you get an idea of the demure humour at play in the band’s music. It comes from central figure Jo Hirabayashi, who has been a self~proclaimed “freaky music weirdo” in the city’s DIY scene since his teens. Whereas his earlier projects were iterations of solo ventures that eventually ran out of steam, Jo Passed has been gradually growing with the addition of members until they became the fully formed quartet we have today. They will be releasing Their Prime on May 25th.
→     The first song to be taken from the album is called ‘MDM’ and is a rollicking rock number, as much indebted to math rock as it is to slacker and grunge — which seems to make Sub Pop an ideal home for Jo Passed. Cutting and thrusting through frenetic guitar workouts, ‘MDM’ is the sound of a band with a point to prove, arcing their way heroically towards the horizon with squealing guitars and head~down determination. The album is said to be about “owning [his] worst nightmares” and “confronting fears,” and Jo Passed seem to be wrestling something gargantuan and doing it absolutely fearlessly here. ‘MDM’ is wrapped up in under three minutes, but suggests a whole world of potential to come on Their Prime.
→     It comes accompanied by a video directed by Eleanor Petry, about which Jo says “something something, on my phone too much, something something, marshall mcluhan, something something, stanley kubrick, something something, the medium is the message, something something, ouch my insides.” →      https://www.thefourohfive.com/
Review
Written by Mark Ray1 May, 2018; Score: ***½
→      Debut album from Canadian grunge~punk quartet.
→      Ignoring the awful pun of the album’s title, this is an album of dislocation, of questioning alternative culture’s place in the modern world, and a quest for a place to call home. And it’s delivered in a fucked up psychedelic grunge package that takes the listener on a journey through the mind’s eye of an urban dweller with little money and too much time on their hands.
→      Jo Passed are Jo Hirabayashi, Elliot Langford, Mac Lawrie and Bella Bébé. They hail from Vancouver and Montreal and bring an amorphous sound to their rock, that takes in psychedelia, grunge, punk and dream~pop.
→      The album’s opener, Left, is almost soporific psychedelia, like a shopping experience in a surreal supermarket. This is the sound of soft industry, drifting through an industrial dream scape with the repeated mantra: We gave you everything, what’s left? It has an end of the world feeling. MDM starts with a quirky guitar riff that almost stumbles into jangly pop. It’s a sixties and nineties mash up, channelled through the present. It’s hardcore on Valium. Next up is Glass, which has a Beefheart/Devo influence. The vocals are 60s dreamland aligned with complex guitar parts and jerky rhythms which unsettle and demand repeated listening. It’s a song about looking for a home, and on a deeper level, what is a home? The vocals tell us ‘I’m just a tenant in my birthplace,’ to bring home the fact that you can feel dislocated and alone on the very streets that gave you birth and formed your childhood.
→      Undemo has dreamy guitars that sound like surf on an island. The music and vocals conjure images of colours splattered around a one bedroom flat, as friends gather to go out for the evening and enjoy music. Here, in an alternative culture, can be found a sense of belonging. It’s about ‘killing times in the end times together’. There is building tension in Repair, which builds arpeggios over a tribal beat, before blasting out into chaos at the end. Millennial Trash Blues, an obvious allusion to the Dylan track, has a heavier, more urgent sound that addresses the idea of the snowflake generation, the generation that supposedly considers themselves unique (like a snowflake) and stands for no criticism of their world view. But Hirabayashi adds a sinister, melancholic twist to this by singing, “We’re a bunch of unique snowflakes but it’s actually the snowflakes of a burning trash fire.” You, Prime has an industrial, headbanging groove. Sold has a punky grungy beat. The album closes with Places Please. There is a slow drum beat infused with melancholy. A Pink Floyd feel. It’s portentous and dreamy with the music like waves of thought crashing over each other, and the vocals like a Greek chorus.
→      Their Prime is a great debut album, full of confidence and intelligence. The whole thing has a feeling of a drugged~out dream that often strays into a bad trip. There are psychedelic guitars, dreamy rhythms, and a bass roving through the back lots of broken down cities and nightmares. It has a coherence, a thoughtfulness that is often lacking in albums. There is paranoia and dislocation and a desire to find a sense of belonging. →      And, when all is said and done, isn’t that what we all want to feel?
→      http://louderthanwar.com/
AllMusic Review by Mark Deming; Score: ***
■?         You know that loud/quiet/loud thing that the Pixies and Nirvana both built careers out of? Well, the torch has been passed to a new generation, and Vancouver’s Jo Passed reveal the results of their own study of dynamics on their debut album, 2018’s Their Prime. While this band isn’t averse to sharp contrasts within their songs, as demonstrated in tracks like “Left,” “Repair,” and “MDM” (the latter of which bears a more than passing resemblance to the Pixies), Jo Passed also enjoy shifting back and forth between languid numbers filled with whispery vocals and delicate guitar patterns, and louder, more aggressive material where guitarists Jo Hirabayashi and Bella Bébé square off and offer some satisfying six~string cross talk. On “Glass,” Hirabayashi and Bébé conjure something akin to Tom Verlaine sitting in with Wire, “Millennial Trash Blues” is a raucous exercise in fuzz abuse, and “Places Please” is a six~minute stroll through the clouds. For a band that’s only been working since 2015, Jo Passed sound remarkably focused and confident on Their Prime, largely due to group leader Hirabayashi, who wrote the lion’s share of the material, handled much of the instrumental work, and recorded the material in his own makeshift studio. Hirabayashi also brought in ringers to record the bass and drum tracks rather than use the rhythm section of his road band, which suggests this combo isn’t entirely a democracy, though it’s hard to argue with the results. If the hushed murmur of Hirabayashi’s vocals seems just a bit mannered by the time “Places Please” closes out this album, he knows how to write songs, the production is thoughtful and inspired, and the guitar work connects solidly throughout. Their Prime is an impressive debut from a group that has already gone a long way toward moving past their influences, and Jo Passed is clearly a band to watch.
Description:
?         The nicest thing anyone has ever — ever — said to Jo Hirabayashi, frontman of Jo Passed, is that his band’s debut album sounds like “fucked~up Beatles”. Their Prime, the full~length follow~up to Jo Passed’s two EPs, Up and Out, does sound like fucked~up Beatles. It sounds like Lennon and McCartney discovered Can and Neu!, and maybe a little Sonic Youth and XTC along the way. It demonstrates that timeless knack for dreamy melodies — chord progressions that sound like they were created in a land far, far away. Lyrically, however, it’s imbued with a philosophical longing for answers to questions that have resurfaced for the first time since the explosion of counterculture in the late 1960s and early 1970s.
?         “We gave you everything, what’s left?” asks Jo in the refrain. It’s a question about art, about socialism, about the point of life. Considering the heaviness of the record, it’s relieving to find Jo in his home studio in Vancouver (the unceded traditional territory of the Musqueam, Squamish and Tsleil~Waututh First Nations) with a regular tendency to burst into chuckling fits. You could put the laughter down to a nervous energy, and a charming one at that. Despite the fact that he’s crucially aware of the world around him crumbling, he’s not lost sight of his sense of fun. His approach to Their Prime was to create a collage record of everything he’s inspired by. The last track “Places Please” he says is his attempt of trying to make Grouper dine out with Frank Ocean, whereas “Undemo” is This Heat versus Leonard Cohen. “I was trying to infuse different sounds I thought could really work,” he explains. “Like, what if Nick Drake fronted Swans?” I suggest Nick Drake might struggle in that role. He laughs again.
?         On the West Coast, Jo has been part of the DIY music scene since his late teens. Initially it was just him and his high school best friend Elliot Langford against the world. They were the “freaky music weirdos” and they began their own band projects. Jo was pretty sure that it would be two of them riding into the sunset — or maybe the gloom — together. Personal circumstances and the phenomenon of the late 20s return of Saturn (for those who believe in astrology) got in the way. Their band Sprïng called it a day. That’s where the life of Jo Passed began. The idea of a band dynamic is far more appealing to Jo than solo projects, and the current incarnation of Jo Passed feels like its most robust yet.
?         Jo, along with his friend and drummer Mac Lawrie, moved across the country from Vancouver to Montreal. The two would play shows in Montreal and eventually tour the far right corner of North America. Upon Jo’s return to the west coast, multi~instrumentalist Bella Bébé officially joined the band in January of 2016, expanding Jo Passed from trio to a full quartet. Multimedia artist Megan~Magdalena Bourne began working with Jo Passed on a video project for the song “Rage” (from the Out EP). This creative partnership would eventually lead to her taking on the role of bassist for the band.
?         When not geeking out over The Zombies, or Nirvana, or Johann Sebastian Bach… Bella, Mac, and Megan have worked with Jo to realize the live experience of Their Prime, following two Jo Passed EPs titled Up and Out. Tonight is their first ever show as a foursome, and Jo is pumped.
?         “A project like this was never supposed to happen for me,” he says, still surprised. “Sprïng was falling apart and was turning into something resembling my project, which was never the point of that band. Then I started to get this really bad insomnia and it culminated in me starting Jo Passed. The second I finished one song my insomnia went away.” Jo needed a functional channel to pour his excess energy into. He’s always been fidgety, writing songs from a young age, reared as a classical pianist, then learning guitar in his mid teens. “Jo Passed has been the first thing where I know that if I funnel all my energy into just being a songwriter, it’ll be better for my health. It wasn’t a career choice. It was survival.”
?         Upon Jo’s return to Vancouver from Montreal, he’d found a completely different way of existing. He admits to still having a love/hate relationship with Vancouver, and that’s documented extensively in ‘Their Prime’, but it wasn’t till moving to Montreal that he was afforded the informed perspective to re~investigate his identity as a Vancouver~based artist. Having spent his whole life here as the child of two dance choreographers, he has a very unique and informed perspective but is very quick to recognize the privileges his upbringing have granted him. In fact, his parents’ leased studio space (KW Studios) allowed him to split the creation of ‘Their Prime’ between his own living space and a proper room. Sticking to his DIY approach he engineered and produced the album himself.
?         Growing up, he saw many facets of Vancouver — the gentrification, the poverty, the reality check he’d have when he considered his family’s struggles compared with those of Indigenous communities. He channeled his political and social awareness into the music communities he found when he was 18.
?         “This album is my concept record of dealing with the idea of calling Vancouver home. There are struggles with the border, cost of living, space…” Jo shares a home with many others, and it doubles down as a venue, of which there’s a dearth of sustainable venues in Vancouver. “There’s this big question mark where even people in Vancouver are like, ‘What is this city?’”
?         Their Prime is a record about identity and the loss of time that happens as a direct consequence of being in the city with nowhere to rent, no time outside of employment and no realistic expectations to live up to. It encompasses that fear of being beyond the glory years, the most creatively fruitful period of one’s life. Those years were lost to contemporary struggles for working relationships, home, identity and space. “It’s me owning my worst nightmare,” he admits. “A lot of the Jo Passed project has been about confronting fears. I was afraid to move away from Vancouver to Montreal on my own. Afraid to leave musical relationships I had. Afraid to bear the full responsibility of a project. Being open about those fears is a good way of dealing with them. You end up at this point where you hit 30 and you’re like, ‘Oh what happened? Am I done? Did I not activate my main creative energy?’ It’s a ridiculous idea but 30 feels a little like 1000 in rock n roll terms.” You can hear the frustrations and the jitters in the crashing loud~and~quiet motifs throughout the album’s twelve tracks, which offer up a patchwork quilt of sound, similar to Faust’s IV or Fugazi’s Red Medicine.
?         Jo Passed originally consisted of Jo and his friend and drummer Mac Lawrie. The two moved to Montreal together, and toured the far~right corner of North America. After Jo’s return to Vancouver, multi~instrumentalist Bella Bébé joined the band in January of 2016, and multimedia artist Megan~Magdalena Bourne joined on bass, after working on a video for the song “Rage” (from Jo Passed’s Out EP).
?         Having worked with Bella, Mac, and Megan to create the live experience of Their Prime, it’s touring and hearing people’s reactions to the album that are at the forefront of Jo’s mind. “It’s like I’ve put all my negativity into a place and now I’m lighting it on fire as a way of releasing it… by putting it out on Sub Pop, ha!” Indeed, sometimes you have to banish the bad vibes to get to the great ones.
?         The first half of the record begins with the most doom~laden themes. ‘Left’, ‘MDM’ and ‘Glass’ are particularly end~of~the~world~y. “The songwriting was finished the day Leonard Cohen died, which was two days after Trump’s victory, so there’s a lot of that energy in the record,” he says. The lyrics are troubled with a lack of purpose, a search for what even matters in art now, whether there’s any way to impact still. “I was trying to not get too grandiose in political statements and re~centre them in my own experiences,” he says. “Glass” moves around the idea of a lack of belonging, a crisis of self: “I’m just a tenant in my birthplace” sings Jo.  “‘Glass” is pointed at Vancouver. I’m a guest here. I’m trying to encapsulate the experience of what it’s like. I relate it to a slow regurgitation of a body: you’re gradually being repulsed out of something sick, but you’re fighting to be swallowed into it. I’m asking — What’s a home? Can you just buy one?”
?         On the more celebratory tip comes “Undemo,” which is a song about communities of show goers  and DIY music scenes. “Killing times in the end times together,” sings Jo. “Music scenes live under the guise of environmental collapse, neo~liberalism and Trumpism, yet we go and play music to each other. It’s amazing existing in these communities. It’s been life saving! You can get into this moralist guilt and think, if we’re gathering here shouldn’t we be forming activist groups? In my early 20s I felt a lot more of  that righteousness. But there’s two sides to all that. There’s fighting the bad and there’s also defending the good, ie, playing music in safe spaces and supporting each other creatively.”
?         Physical spaces are so important in our social media~obsessed world. “Facetook” is a comment on that, whereas “Millennial Trash Blues” (a tongue~in~cheek poke at Bob Dylan) makes direct reference to this concept of the “snowflake generation”via lyrics about snowflakes lying on the ground. “We’re a bunch of unique snowflakes but it’s actually the snowflakes of a burning trash fire.” In as much as there’s matter~of~fact depictions of harsh realities, there’s also a sense of hope. None more so than on “Repair,” which was written the day of Trump’s election. It combines soft melodies with walls of chaos. “I was trying to make something that encourages fixing. We’re losing track of that,” adds Jo. Playing it live has proven itself to be particularly cathartic.
?         It’s touring Their Prime and hearing people’s reactions to it that are most at the forefront of Jo’s mind right now. “It’s like I’ve put all my negativity into a place and now I’m lighting it on fire as a way of releasing it” Indeed sometimes you have to banish the bad vibes to get to the great ones.
Label: https://www.subpop.com/
Twitter: https://twitter.com/jopassed
Bandcamp: https://jopassed.bandcamp.com/
Facebook: https://www.facebook.com/jopassed
Soundcloud: https://soundcloud.com/jopassed
Website: http://www.jopassed.com/
_____________________________________________________________

Jo Passed — Their Prime (25 May, 2018)

NEWS

14.12.2018

Cillie Barnes

11.12.2018

The Reaction

11.12.2018

Timber

11.12.2018

Rány Těla

11.12.2018

Choroš

11.12.2018

Cunning Folk

9.12.2018

Cold War Kids

archiv

ALBUM COVERS X.

The Family Crest — The War: Act I (6 April 2018)
Tais Awards & Harvest Prize
Za Zelenou liškou 140 00 Praha 4, CZE
+420608841540