Year : 2014
Genre : Folk
Origin : United States
Official site : > here - <
For extensive background information on Juliane Jones' identity and musical/artistic/linguistic background, please consult her site and read her biography. This text, on the other hand, will be a review of her latest work to date, "The Space Between The Telephone Lines".
The language used in the disc is a flamboyant mixture composed of constant interchange between English and Chinese Mandarin, while the stylistic/rhetoric/narrative demeanor and songwriting is hyperoptimally-ultra-naive and ultra-tender, primarily targeted for an awareness that I feel is yet-to-be-immersed into the ordeals and intriguing challenges of the casual physical realities - in other words, it sounds like kid's music to me, and I of course have zero problem with this. Read on to know why.
Because kids are an important and also necessary part of "teh" reality fabric. The only relative shortcoming the album could, and maybe, even SHOULD be accused of, paradoxically, is its mere lack of shortage, especially on the compression level. Yours Truly has his dosage of satanic pop metal the gimps in the basement love to listen to once in a while, yet Juliane Jones' concept of subwooffer molestation puts a puzzled face on the Meshuggah collective in an instant - from a particular angle, it is an interesting experience, witnessing these dangerless, fragile fairy tale melodic anatomies soar on nuclear sonic power, but I would advise you to start this release with a very very veeeeeeery tame volume, as each and every track on the disc is vastly and senselessly over-compressed beyond sanity AND insanity. Is this a hindrance? You decide. I think the album is superb at making you perform jumps from any body position. If you have a kid, make her/him/it - just to be liberal - learn Chinese Mandarin, as Mandarin is the most frequently spoken language on the planet surface. This disc might be a useful addition to this endeavor.
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