Take off your shoes, jacket, maybe your glasses too, and the toupee if you've got one; Jonny's Day Out just released their debut album JDO, and it's time to get immersed.
If you're a fan of a variety act, the Portland-based five-piece values orchestral elements woven into their modern rock, full-band style sound.
Accented with touches of psychedelia and funk, the eight-track LP never leaves room for boredom.
Throughout the album, the band continually proves their technical ability, and then proves that they don't really need to prove it, because they have enough ideas to keep us engaged either way. It's really about embracing the unexpected moments, whether that's landing on an unusual note or adding an Otamatone to an already compelling track.
Fans of groundbreaking fusion artists like King Gizzard & the Lizard Wizard or Thundercat are often those who don't go searching for another artist to fill that void. But in music, there is always a mysterious void, and Jonny's Day Out might just slip through the stubborn cracks and into the vastly unexplored cavernous world of your favorite artist that you can't really explain.
"SMB" is a warm welcome to JDO with a wild unraveling of an introduction to what already feels like an album that's going to be way ahead of its time. An abrupt, layered vocal over a backdrop of discord defines the first verse as it switches back and forth into a swell of instrumentals that hits the nail on the head of the full, orchestral sound that the band achieves comfortably, without overwhelming a listener within the first 60 seconds. It's a strong opener, in the right place, and demonstrates a relaxed sort of cohesion that is rare within a debut album.
Stepping things back a notch, “Cough” trades the band's heavier moments for softer, more restrained instrumentation that complements its laid-back, melancholic vocals, introducing a new sense of intimacy to the record. The song’s progressions lean more heavily into jazz, though the production retains enough grungy distortion to satisfy Jonny's Day Out fans who came for the rock, something the band is more than capable of delivering.
Complete with lyrics that strike a balance between cheeky and melancholy, it's the kind of track that lingers long after the album ends.
"Catwalk" starts groovy and full, hovering somewhere in the world of funked-up psychedelic rock. Stand-out elements include a strange chamber-y reverb, heavier sections of guitar that become more prominent as the song progresses, and a spoken bridge that somewhat calls back to the first track, reminding a listener that even though the band has a lot going on, it all comes together in an intentional way. From bursting-at-the-seams beginning to fade out into the sunset, this piece is the perfect opener to the middle section of the album.
With squealing guitars and commanding lyrics, "Zumba" is rock-forward and sweaty like a Zumba class. Vocal distortion in the bridge and what may be the most deliberately placed Otamatone bleeps of all time make this track JDO’s ultimate party piece. At just under two and a half minutes, it races by with such momentum that it feels even shorter than its brief counterpart, “Cough,” leaving listeners more engaged than ever and eager to hear what comes next.
In a more melodic fashion, "Pornstar" utilizes acoustic guitar and airy vocals for its personal introductory touch. Picking up into the chorus, layered vocals and reverberating drums solidify this as the closest thing to an "indie-rock anthem" of JDO. In a way, those features allow the first half of this song a slight opportunity to be the break in the album that has no breaks. Despite its tentative indie rock label, the track drifts further from convention as it unfolds, experimenting with structure and instrumentation throughout the build to its final chorus.
With whispered vocals and bright key tones setting the stage, “Racehorse” brings an unexpected Krautrock influence to the record, expanding on ideas that had only been hinted at before. Effortlessly moving between hushed passages, explosive peaks, and dreamlike moments that merge the two, the track is a testament to both the band's ambitious arrangements and a masterful final mix.
As a standout single off the project, "Racehorse" demonstrates a wide range of musical philosophies that put every member of the band to the collaboration grindstone.
Cresting into the end of the album, "Seabiscuit" stands firm in its importance. With memorable semi-narrative lyrics and a catchy melody, there's a reason why this single was the first release back in February. There's plenty to draw in a curious listener, with the upbeat composition and some fun percussion elements, but the song remains exciting, nonetheless, to the nerds who are here for the technical aspects.
Like, who doesn't love a full-stop that lasts barely a millisecond but still resets your brain for the last thirty seconds of the song? As previously mentioned, it's the little things.
Slightly unexpected but still on theme, "Euth" gives the album a mostly instrumental finale – with the first two minutes spent in heavy melodic ebbs and flows, and the final section adding just a touch of that vocal element as the song flings itself into closure like the end of a novel you just couldn't set down. It's not the song meant to show up on a shuffled playlist; we've already got some options for that off of JDO, but it is perhaps the most fitting way to close out this album without leaving any stones unturned.
If you want to see this album performed live, don't miss out on Jonny's Day Out's ENJOYING THE VIEW TOUR, taking place this summer in June and July throughout the general West Coast area of the USA. Tickets can be found on their website via the link below.
Photo Credit: Brendon Burton
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