John Freer’s musical background is a lifetime of experimentation and thought. Jackals On A Carcass is a pixelation of sound as it flies in and out between the ears hoping to form an image needed to take notice. And that we do. Sleepwalking suspends and challenges with a pace moving in and through itself with a banter seeking entry from another place. Such exquisite keys to shake down your being upon not waking.
Omarska gave me chills, ghosts of the encampment cry out through doors of strings and there is no hope, no innocence, just feelings of distress, cruel treatment in a most modern era while Numb Days industrial scrapings become the black dog that is trying to be let out. These tracks hurt as much as they exhilarate, the drowning too close for comfort. Freer’s compositions are complex offerings that stir one into a creative ball of thought and energy. One wants to paint and write what they hear, that is how powerful his music is. This track is epic, so, so good. Close your eyes and you will soon feel the cold tear hit the air down the side of your face.
It Is Not Going Away‘s hook’s are in and there is no escaping. The music here is spellbinding. Other world’s open doors, the strain of pain lingers and somehow we still can lift our heads. A healing guitar, repetitive in its push to comfort, unique and personal. Floating Is A Happy Photograph, is an Asian inspired homecoming that still evokes a contended house, its underbelly of erhu down a chalkboard still wraps you in a melody of hope. You Die is a standout track for me, that sends you into a serious trance state, opening his doors to the sound swerves of electronica, his voice a dance with the macabre. Freer’s vocals are throughout this album, startling sprinkles of emotion, respiratory whispers we hold our ears to the ground. The Best Things I Like Are The Problems That You Give Me, highlight a plethora of instruments, three voices, a family woven in intricacies.
Though I am only the voice on the compelling last track Passive Moral People, I had no idea how the finished piece would be. Outside looking in, I am thrilled. Done on opposite sides of the world, we started our connection through sharing a mutual respect for Sydney band Severed Heads. In that we admire creative impetus and a love of things a little dark and layered. This vocal track is beautifully transposed into the void and I thank John for entrusting me with his words.
You’d also be well advised to seek out the brilliance of Gentrified Times, the amazing collaboration with Miggy Angel in their superb incarnation We Bleed Ink. Miggy’s intense mind is the perfect companion to Freer’s interpretive empathy. You can listen and purchase The Future Is Where It Ends here.
URBAN F 