Jesse Mac Cormack NOW. Secret City Records

Over the course of three EPs - 2014’s MUSIC FOR THE SOUL, 2015’s CRUSH and 2016’s AFTER THE GLOW - the Montreal native has gathered accolades and refined his vision, nourishing a song-writing that is lavish and undaunted. Whereas Jesse’s earlier work drew heavily from folk and roots-rock - Les Inrocks called him the “new hero of modern folk” - the songs on NOW are prismatic and forward-facing, recalling the adventurous pop of Tame Impala, Talk Talk and Perfume Genius.

The opening gambit to this album, Give A Chance’, could not be stronger or more powerful in setting the stage for this wonderful singer/songwriter. The song is underpinned by a relentless rhythm, and moves jaggedly along in the most distinctive fashion. The vibe is rocky, the atmosphere intense, the lyrics powerful: “…For the sake of my, me, mine/Stay open, stay alive/There is no sense, only life/I will change, I will kill/I will fuck, we will bleed.” The vibe intensifies towards the end with the rhythmic thrum growing stronger and faster. Superb. Next track ‘No Love Go’ changes tack to offer a solid dance beat and although less distinctive holds its place here. ‘Stay’ steers onto a more rock/pop road and certainly one that could lead to radio airplay. There’s a strong melody, memorable choruses and a driving vibe.

‘Now’ is a darker song with Cormack’s voice distant, remote. The lyrics echo the darkness: “Now is too late/Now is too great/Moment’s already past/We’re never gonna last/In such a state/Cannot see straight/Bring me down to the fact that I will die alone/Alone, alone, alone/Alone, alone, alone/Alone, alone, alone/Alone.” It’s adventurous and compelling rock. ‘Passageway’ moves eventually to a far more gentle and moving vibe. Cormack’s voice is natural and expressive while multi-layered vocals add much drama. ‘Sunday’ is dominated by poignant piano notes in a song that wanders softly with strings also in the backdrop. Cormack’s voice is angelic on this the most beautiful and emotive song on the album: “I’d love to see you cry on a Sunday afternoon/A message from the sky announcing the full moon/Maybe just to know that I am not the only one/On the run.” Superb.

‘Nothing Lasts’ concludes this wonderful album in a quiet, contemplative style and at glacial pace. This is a special debut album.

4.5/5

Jaws THE CEILING. Jaws

The highly anticipated third full length album from the Birmingham shoe-gazers, JAWS, following on from 2016’s SIMPLICITY. They’re pushing their lush dream-pop/shoe-gazey indie-rock even further, experimenting with new textures and an even larger sound. Fans of Swim Deep, Turnover, It Looks Sad., Peace and Seahaven should give this a go.

Recording again with Gethin Pearson, who also produced SIMPLICITY, the album represents another musical leap forward for the band, adding new textures and further honing a sound that has been theirs since their inception.

This album shouts vibrancy and life with its intense rocky vibe. Take opener ‘Driving At Night’ which rushes along like a train accompanied by clattering, steely sounds and a vocal that manages to climb above the sharp din. There’s melody, infectious choruses and production that makes sense of it all. Great opening. ‘Feel’ is dominated by keyboards as opens in a more gentle vibe before things pick up a minute in with drums leading the charge, before things calm again. The changes of pace are interesting while underneath it all is a melody that cements the whole.

Jangling guitars introduce ‘Do You Remember’ - a more conventional rocker with its special riff moments. ‘Fear’ is introduced by intergalactic electronics and gravitates to a dance beat that alternates between soft and loud. ‘End Of The World’ is introduced by a single distant guitar in a song that by this album’s standards is very conventional.

There’s changes of mood and pace, with a diversity of sounds to keep one attentive. There’s even adventure like the mystical vibe of ‘Looking/Passing’ and the thoughtful ‘January’.

3.5/5