Customer Reviews

Boneclouds

5 star:		(10)
4 star:		(6)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

Boneclouds, though not Mason's catchiest album to date paints the picture of the maturing artist. Everything that made Mason a songwriter of note on his previous albums is visible on Boneclouds: longing, questions of faith, love, and the state of things. What make Mason's songs so magnetic is his ability to dance seamlessly from distinctly personal to eerily abstract. Mason has created a narrator that everyone can relate to. He is admittedly a fool like all of us, a seeker, a sage, and above all a storyteller- a spinner of yarns that are both personal and universal. The sparseness of the production lends a clarity and importance to every rhythm and melody that proves less really is more. With a body of work that most songwriters could only hope to achieve- Jennings is more than an artist to watch. He is quickly becoming a voice of a generation. We can only pray for the day that radio wises up and begins playing music this good.

While his email newsletters and my own general anticipation collectively built my anxiety to a boiling point, I held off on being overly excited. Perhaps it was the Glacial Pace signing or the expired look on his face at the last couple of shows I tailed him to see, but I honestly didn't know what to expect a man who's permanently attached to my history, my youth, and my soul. That said I didn't get overly excited. Hell, I didn't even open up to it at first.

My initial impressions went something like: "It sounds overproduced," then "this is unfriendly." However, after opening my own selfish "this-isn't-Birds Flying Away," and "I'm-stuck-my-loyalty-to-the-past" doorways, I have let the album's melodic uncertainty and pure human sincerity consume me.

Here's where I tell you why you should get it and love it: It has everything you want and expect from Mason. "Be Here Now" is it's own calling to you as a listener. Beyond his explorations of love, think of it as a reassuring urge that you should be here now--so shut up and listen. "Gentlest Hammer" works much like "Empire Builder," a fun filler between musical crescendos that you find yourself humming at the most awkward of moments soon after.

Then there's "If You Ain't Got Love," a song truly reflective of the Mason all the die-hards held on to. The title itself currently reminds of the power preached in "United States Global Empire," that "freedom's the ability to feel love for everyone." However, on Boneclouds Mason moves love into the realm of parenting, something many of us surely overlook in our quest to conquer romance.

My current favorite, unbelievably, is "Some Say I'm Not." I already have visions of live-performance explosiveness with this song, something I hope holds true. I feel it has the power of his earlier concert favorites "The Mountain" or the "The Light." Lyrically, he also brings the "God is everything/God is nothing" duality directly to the surface. Musically, the song has a progressive beat and rough switch from the fingerings in the previous track. It holds a significant place on the album, as again we transition between the overarching themes he presents.

"Moon Sailing on the Water" and "Jackson Square" are familiar in sound and nature, and examine human relations and the adversities within. The piano in "Moon" is extremely subtle, yet absolutely necessary, and the breakdown is bound together effectively by four lonely keys.

"If You Need a Reason" is another standout track. From the insightful opening, "Got so lost that I went to church / Sorry God but you made it worse," Mason puts love back in our face with a romantically reassuring chorus. Early on, I found myself immediately drawn to the simple lyrics and familiar structure--no doubt because I was looking for a Mason I had always known and loved. I still enjoy the track for these reasons, for without it I'm not sure how much I would have devoted to the album as a whole based on that first shaky run-through. It is Boneclouds' "Darkness Between Fireflies;" its "Stars Shine Quietly;" its "Sorry Signs on Cash Machines;" its "Keepin' it Real."

"Which Way Your Heart Will Go" is like "Gentlest Hammer," in that it bridges between high points on the album. It should not be seen as a lull, however, and could evolve into the sleeper song for many. It asks more important questions, like "Where would I be right now / if all my dreams had come true?" again urging us to Be Here Now. It is poetic as well, including a strong "s" alliterated sequence that blooms in about the fourth or fifth listen. It is reminiscent of "Fourteen Pictures" for its innocent qualities and friendly musical backdrop.

While production may have slammed a zillion sounds into "Where the Sun Had Been," I find myself drawn to its imperfections (listen closely to the gaps prior to the "looking up at where the sun had been" repeats). Here, I feel Mason knows what he's doing and wants us to at least appreciate the progression. Some call the track "a throw away," but I find comfort in it just like I found comfort in "Godless." You can't slam the man for going different places. I've also read that Boneclouds was whittled from some thirty songs. I find its inclusion very relevant, both for its content and its reflection of Mason's flexibility and artistic direction.

"Jesus Are You Real" speaks for itself, and does so in such a comfortably reassuring style that it's easy to nod along with questions. Since it speaks for itself, I'll quit there.

Overall, the album is fantastic. Perhaps I'm naïve in refusing to naysay anything Mason, but I truly feel that this a great place for him musically and for us as listeners. It is simple, real, even common in the sense that not a dressed up metaphor--not that Mason ever was, but it's nice to know that he's still himself after moving in with Isaac Brock. It is the actuality that Mason has always given us. What else can the devoted Jennings follower or the new fan arrival ask for but plain and honest uncertainty about one's life, faith, and love, and the resulting inherent certainties of that life, faith, and love?

So many fans of Mason's music praise his honesty, and I think I finally understand what they're saying. With each successive album you can really feel Mason's growth, not only as a musician, but as a person. He sings and plays what he thinks and feels, and that's a refreshing change from a music scene dominated by artists (even many good artists) who write songs that may sound good, but don't really mean anything to them. From the opening line of the album, "Be here now," you can tell Mason doesn't fall into that trap. Mason's songs are utterly convincing, allowing listeners to feel truly comfortable immersing themselves in his beautifully honest music.

More importantly, this album just plain sounds good. The Amazon.com editorial review describes it better than I can, but I'll add my own impressions. The songs can be surprisingly 'driving,' full, and upbeat when you crank up the volume, and pleasantly soft, simple, and sweet when you play it quietly in the background. Mason is already widely acknowledged as an amazing songwriter, and, in my humble opinion, this album's lyrics are head and shoulders above any of his previous efforts, impressive as they may have been.

It's a Mason Jennings album through and through. If you like any of his previous albums, buy this one; it's his best yet. And if you haven't yet checked out Mason Jennings, make this CD your next purchase. The clips available on Amazon can't possibly do it justice; trust me, there's just so much to each song that can't be captured in 30 seconds. Buy it, put it on repeat, immerse yourself in the music, and listen carefully to the subtly profound, beautiful lyrics. You'll be glad you did.

"Boneclouds" is my first Mason Jennings album so I can't compare it to his past releases. But I can say that new listeners are definitely going to be pleasantly surprised, as I was.

I heard about Mason Jennings based on being a fan of Jack Johnson. They don't sound alike at all, but I can see that if you like the cool mellow laidback Jack Johnson stuff, then you'll probably like Mason Jennings.

Mason is more of a singer/songwriter in the traditional 70's sense of the genre. He's more folk-based, even acoustic blues-based than Jack Johnson.

The songs on Boneclouds are very good and much more catchy than I would have thought. I didn't anticipate Mason's good hooks. I would definitely recommend this album to anyone who likes good "real" music. Mason Jennings is very talented and I'm eager to hear some of his other albums.

I'm being tough on Mason because I'm judging "Boneclouds" on his past outings (I was originally going to give 3 stars, but the CD has grown on me a bit). Mason Jennings is hands down one of the best singer/songwriter folk/rock artists out there. His live performances are intense, and I've been spreading the word for last 4 years. Now that he has signed with sony I was expecting him to blow up and put out a definitive Mason Jennings album. However "Boneclouds" is not that at all, it's much more experimental. I've probably listened to the disc 5 or 6 times and tracks 1,2,5, and 7 have grown on me, and this album is by far one of the better albums I've bought in the last 6 months. I like some of the new sound effects he experiments with but most of the songs are lacking the brilliant lyrics Mason is known for. It's almost as if he was worried more about the sound production than the actual song content.
If your new to Mason you need to check out his self titled debut or "Use Your Voice"

A little background: I manage a recording studio in NYC, I've been to Pachyderm, where this album was recorded, I've met Mason Jennings, about 6 years ago or so. I've been a fan since '99 or so when he was playing a lot of local shows (no chance of seeing him at Acoustic Cafe for free in Menomonie or Eau Claire, WI anymore...sad...)

I think it's interesting hearing him in this slightly more produced setting. His lyrical honesty has always projected well in the minimal environment, a very important aspect, primarily in his first two albums, and then on his following two, he stuck to a similar stripped down feel, but a stylistic change is definitely noticeable.

You can tell the recording studio was being used as a creative tool during this album, more than on the previous four and the solo album. On some songs it works, and on other songs I think it leaves him sitting in middle ground: either the song needing to be stripped completely down, or built up even more through greater production and arrangement.

As with many of his albums, the meat (the middle) of the album is what shines. He ends strong, but I've always felt the first couple songs on a Mason album are just warming me to the fact that he's going to tell me what he really feels later. Sort of a, "the first two tracks are for the label and the radio, but keep listening, I promise to really lay it on you later!" Not that the first two tracks are anything to scoff at, I just think it ends up being appetizer...a preparatory 6 minutes before I get to lay back and hear Mason bring his real craft to life: songwriting.

It starts off with a thunderous rendetion of "Be Here Now" and ends with a little introspective religion.

Not as good as his previous albums, but almost. Retained is the Mason sound we all love; gone are the pure gems we have come to expect. There is no song on this album as good as Ulysses, Sorry Signs, Birds Flying Away or Darkness Between the Fireflies. What we have here are great, but not moving songs. "Moon Sailing on the Water" is the my favorite song on here, it reminds me of David Gray, it's very quiet while at the same time telling you everything.

He still can write some of the best love song though.

Mason Jennings is one of those rare artists who have both a classic and modern sound all at once. He is at his roots a folk artist, but one who experiments with a lot of different sounds, progressions, and styles, so much that it is difficult to cast him into any one genre. The music is definately from the heart and in my opinion definately worth a purchase. The best way to describe it is one of those albums that at the first listen you think, "it was pretty good." After a couple of listens, "it is REALLY good." Enjoy, and if you ever get a chance to see Mason live do it...the live show is even better.

As a relative newcomer to Mason's music, I'll admit to becoming a fan by way of the Ghost Town movie, every song he writes has a purpose. Much has been made about the crisp production quality of Boneclouds, thanks to Modest Mouse front man Issac Brock's recording studio, but the result is sweeter and purer than anything else heard in years. The lyrics are incredible. The music is beautiful. Fans of contemplative folk rock music will enthusiastically listen to the tracks with a pleased heart and soul. This is feel good music with a sensitive touch. Highly Recommended 100%!

I'm truly glad that Mason isn't very well known, for that way I can enjoy him all to myself. Well, actually I like to throw him on for friends and then act like a pretentious snob when they ask, "Who is this?!" Another remarkable album from a criminally underrated musician.