Many of the rock influences from his previous effort, Blood of Man, carry over into Minnesota but much of the album is underpinned by Jennings’ new method of communication, the piano. This fall, Jennings releases Minnesota, his open love-letter to the state he calls his spiritual home. But his musical scatterheart belies the excitement of a sampledelic hip-hopper various snatches of sounds ranging from the frenetic charge of jazz to the anthemic power of rock find their way into the rough patch-work sewn by the folky strums of his guitar. Jennings has the voice of a country & western singer, finger-picking a banjo on the back porch of a house in the weeds. It wasn’t that Jennings was doing anything radically left-field musically, but his strange musings on sex and religion (perhaps even the marriage of both) have made him at least a singular talent in the craft of interpreting emotion through song. Jennings recorded a debut album back in 1998, which went virtually ignored by much of the record-buying public but elicited some hushed, excited murmurs in the quarters of the noted indie-folk scene. But his usual aversion (either willing or unwilling) to commercial radio has made him something of a cache artist. Mason Jennings is by no means a new kid on the block, having had a recording career well past a decade now.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |