REPETITIONS OF THE OLD CITY - I

Another stellar release by this American avant-folk band. The band claim that these songs have been a staple of their live shows for some time, and they tried to capture a more live feel during the recording sessions. The performances are crisp and clear and brimming with emotion. The excellent lyrics are delivered with some of Damon's best vocals to date. The music here is a little more technically complex than some of their earlier works, but it is still delivered with real, organic instrumentation and an accessibility that will keep you coming back for more. I really love this band and this is another winner!

JACK 'O THE CLOCK Repetitions of the Old City - I

I really liked 2013's All My Friends but it showed signs of the band not firing on all cylinders yet--not everyone seemed able to rise up to composer Damon Waitkus' expectations. I'm glad to report that, while this is, sadly, only the second Jack O' The Clock album I've listened to, immaturity and scattered energy are no longer at issue: the band is performing Damon's compositions seemlessly, flawlessly, and Damon's composition and production skills are at his most masterful high.

1. "I Am So Glad To Meet You" (1:37) Damon Waitkus singing multiple tracks in his unusual, warbly, ANDY GIBB-like voice over an atmospheric echoscape. (7.5/10)

2. "The Old Man And The Table Saw" (10:30) a refreshing prog folk composition that sounds like no one else, proclaims (or reconfirms) that Jack O' The Clock is unique to folk and progressive rock music. (9/10)

3. "When The Door Opens, It Opens On Everything" (12:08) opens with a very folk/bluegrass-sounding acoustic guitar intro. At 1:15 the music shifts to a kind of AARON COPELAND/EDGAR MEYER sound in support of Daimon's vocal. Kate McLaughlin's bassoon plays a nicely prominent role in this one. Stellar performances by all band members in this mesmerizing composition. I even hear echoes of some of the sounds, melodies, and dueling of John McLaughlin's SHAKTI music ("Get Down and Sruti" from Natural Elements) on this one. (9.5/10)

4. "Epistemology / Even Keel" (5:45) opens sounding far more like an old WEATHER REPORT or JONI MITCHELL soundscape. But then all that dissipates in lieu of Daimon's nursery rhyme-like vocal. Not quite a cappela, it is supported rather sparsely with bird- and animal-like sounds created by acoustic instruments. The second half ("Even Keel"?) uses an electric jazz guitar and acoustic guitar to provide the foundational support for Daimon's voice. Double bass, shrill violin chirping, bassoon and flute provide occasional and intermittent accents and support. I like this song a lot. It's certainly a top three song. (9.5/10)

5. ".22, Or Denny Takes One For The Team" (6:58) opens as if we are getting to unleash a high-speed Celtic reel, but when dulcimer, electric bass and drums enter to support and mirror the established lead melody of the violin, it feels more rock like. At 1:30 everything shifts into a dreamy MARK ISHAM-like section. Violin and cymbal play support the baseball reference section as sung by Daimon and his support chorus. A lot of FLEET FOXES similarities in this middle section. I like it very much. The story here feels very dream-like, as if imagination (and time) is toying with the recollection of some past memory. My favorite song on the album. (10/10)

6. "Videos Of The Dead" (7:21) opens with bass and low tom thumping a slow, straight 2/2 time while the guitar of prog legend Fred Frith slide over and between. While the time signature gradually shifts, and the song develops, it is still fairly sparse and simple when Daimon's simple vocal begins. At 2:50 things become heavier, more insistent as first the low end and then the middle of the soundscape fills a bit. Flute solos in the fourth and fifth minutes while the song shifts and other instruments snake around beneath. When Daimon returns to sing at the end of the fifth minute, a full Nu-grass kind of jam is mounting an assault beneath him. then, suddenly, at the 5:40 mark, order is restored just when I thought (and hoped) that wild chaos was about to break open. Awesome, even amazing song. My other top three song. (9.5/10)

7. "Whiteout" (2:28) a foundation of odd sounds (including synths, zithers, bass clarinet, bowed double bass, and what sounds like a backwards flowing solo electric guitar throughout) supports the slow, treated play of a hammered dulcimer. (9/10)

8. "Fighting The Doughboy" (13:42) starts out with a bit of an odd, gangly plod-and-hop sound that might have come off of a MAHAHIVSHNU ORCHESTRA or JEAN-LUC PONTY rehearsal during the 1970s. By the end of the second minute it's feeling more like a UNIVERS ZERO song. But then lyrics/vocals appear. At 4:30 the song suddenly steps into a straightforward rhythm--but only for about half a minute, when it returns to the syncopated UZed sound, style and pacing. Horns, violin, vibes, and bassoon are all quite prominent. At 6:30 another foray into straightdom provides a section with some interesting background vocal activities and harmonies--and even a lead vocal from a different male (Jason Hoops?). At 8:20 a kind of calypso foundation begins over which SHANKAR-like violin melody leads before a flanged Daimon Waitkus vocal slowly emerges (and continues moving into the foreground--with accompanying vocalists). At 10:30 new section begins with a sound that is reminiscent of some of JONI MITCHELL's jazzy-world music from the mid 1970s. Voice samples from the likes of Martin Luther King, Jr. are interwoven among the Dixieland party that ensues--and plays out to the song's end. Intriguing song! High marks for creative originality. (9/10)

9. "After The Dive" (3:38) a very cool, unusual song with great, delicate performances from all--and a nice vocal from Daimon. (9/10)

A masterpiece of prog folk and progressive rock music. This band is maturing, gelling into one of the most compelling masters of the modern prog scene.

It's not easy to review Jack O 'The Clock's music! It is true that many elements of classical Progressive Rock are present in the band's music, but we also have many other sounds like chamber music and the sound of the unusual instruments they use in their records (xylophone, melodic, psaltery, violin, bassoon, flute, accordion, among others).

I've been following the band since their 2013 album 'All My Friends', which was for me one of the best albums of 2013 and it is almost perfect. 'Night Loops', their next, still carries the same quality, but it seems to me that the band has repeated too many ideas of the previous album on this one. Than they released 'Outsider Songs' that ws more like a EP of covers. When I heard about the new album, 'Repetitions of the Old City - I', I was very excited. And I can tell you this: Jack O 'The Clock's music is still doing great!

The band's rich textures and sound layers are still intact, but this time they've added a lot of 'really' Progressive moments on the record, with a few riffs and more drums, though keeping the Folk side pretty strong.

I do not believe that 'Repetitions of the Old City - I' surpass 'All My Friends' as my favorite Jack's record, but it has potential. (Okay, I confess I have not heard their first two albums yet, I need to do it urgently).

In the first few spins of the new album the impression I had was that the record is a little too long and that could have been leaner. There are several moments that sound like filler parts and this kills the 'vibe' of the disc in some parts.

But, besides that I do believe this is one of the stronger moments in Jack O' The Clock discography and I can say, without any guilt that this band is one of the most innovative names in underground music today!

Available here: jackotheclock.bandcamp.com/album/repetitions-of-the-old-city-i

This is an excellent album. My personal favorite album of 2016 and amongst my favorite albums in general. In fact, it motivated me to stop being so lazy and finally write my first ever album review.

It hits the perfect balance of challenging, boundary pushing music that still stays in the range of melodic and enjoyable. The multilayered nature of the music, its chamber music feel, and the large array of instruments used, seem to bring old tradition into the present without adhering to any one genre or label, simply modern and forward looking.

Unlike a large amount of music that some of us like to label as "prog", this music is very emotional and has some very engrossing story-telling-style lyrics. For example, "The Old Man and the Table Saw" and "When the Door Opens, It Opens on Everything" both deal with old and dying family members and does it with extreme candor from an interesting viewpoint. It honestly felt quite refreshing and helpful when I was dealing with my own death in the family around the time this album was released.

All in all, I can't recommend this album enough. The music and musicianship are extraordinary. The instrument mix and attention to detail is superb. The album feels well rounded with a variety of themes spanning multiple songs giving it a loose but definite theme. Everything one can ask for in a superb album which deserves much more attention that what it is getting.