A friend of mine asked me who it was the other day when the tunes were pumping, and I told them. They were shocked because of the difference in style between this and Jay’s previous output.
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Heaven only Knows has a bass line to die for…can’t explain it too well without giving ideas which would be misleading, but played on a big sound system, something I intend to do when the opportunity comes up, would be out of this world, I am sure.

Sweet Jesus is a fantastic track. Starts off with such pace and energy, and the build up goes right through the tune, through the repitition, and comes out at the end. The keys sound a little like Cledus Snow’s Building Snowmen.

The Truth with Anthony Shakir, sounds like the future, no? Daft Punk/DJ Bone to give you an idea.

Come On, is I think my favourite track on the album. It’s just boss! Can’t you feel it? Swings and sexy, repititive, and so melodic. Brilliant. So much going on in this tune, but all tight. It’s like a wall of sex.

The Long Way is very mellow, and reminds me a bit of Future Sound of London’s stuff. More technological sounding, more metal.

Germs is a tune one of my mates really likes. It’s also quite mellow, but has alot of pace, alot of energy.

The World is a Ghetto, uses the Portishead/Tricky sample all screwed up like, (Wanna be a woman, blah blah) Very daring. Great vocals over the top.

Electro Static…what it says on the box. Excellent tune. Really. Good melody, great rhythm.

And that’s it for the 12″ version.

In summary, an excellent album, forward thinking, a radical departure from the Jay we know and love, something complety different, I think. The cluby tunes in here will be being played at a club near you sometime in the future, when the future catches up with Jay, AGAIN!

In regards to the comments made by the reviewer, …

But his techno sound, and in particular his latest release The Truth, pose a familiar question for listeners today: does the music of the Detroit scene continue to live and grow, or is it now just a series of mothballed museum pieces better left to historians of the 1980s?

Does it live and grow!

We only just getting started, darling! (Can I get an Amen!)

x

“I haven’t heard this album in full yet’ - Come on! How can you even comment about it then?”
Well, as I said, ‘from what I’ve heard’, and you don’t actually know how much or how little of this album I’ve heard. I’ll keep it at that and point you back to my reply of earlier.

I also think that you missed the point of my remark when I said ‘I am sometimes getting tired of hearing Boards Of Canada, Aphex or Autechre clones’. I certainly didn’t imply that this album was sounding any way like these. In fact, it sounds more like an early u-ziq than anything else to me. This is certainly in no way a bad comparison by the way, I happen to love Mike Paradinas’s early work. I did then, and I do now. And since the album is released on his label, he’s obviously put his seal of approval on it.

My comment was more general. Believe me, I listen to a lot of music, new and old, and I get sent a lot of stuff that just sound too much like any of the above to warrant much interest. I don’t expect every artist to come up with a new way of doing things, because that would be as tiring. Contradictory? Well, surprisingly enough, no. There is a middle ground, and I am glad to say that most music I get to hear actually falls in there, in one way or another. But there are clones of Boc, Autechre, Aphex, u-ziq… and they are not that interesting.

Although I have enjoyed what I’ve heard of the Mrs Jynx album to some extend, it is a bit too close to what I could hear over 15 years ago, and doesn’t seem to give a different angle on it. That’s the impression that I’ve had listening to over half of the record.

I hope this will clarify my comments.