The three EPs Canadian Dan McLay, aka, The J Arthur Keenes Band, released
thus far have been collectively revered by the scene as pinnacles in chiptune composition. However, TJAKB seemed to be adrift in a sea of
influences; each release encompassed a different approach to a similar
sound, though none cohesively linked to the next part of his canon. That is
until ‘Mighty Social Lion’. Acting as a collision catalyst for most of his previous reference points, ‘Mighty...’ also signals a further
expansion; this time into the realms of 90s alternative and britpop nuance.
‘Mighty Social Lion’ also marks a significant dip in the reliance
on chiptune. This isn't a bad thing, as whilst these elements are understated,
this lends the release an undeniable maturity, where chips are an instrument
rather than a gimmick, undeniably aesthetic rather than foolishly
crowd-pleasing (not that Keenes has ever practiced this). In ‘Cardboard Box’, chiptune only comes to the
forefront after a drawn out tease, marking the track’s shift from confined
tension to bombastic euphoria. Chiptune carries the early 90s Radiohead
ambiance of ‘Dumb Jokes’, every staccato arp complimenting the scaling guitars
and swooning voices.
Maturity is also prevalent in the composition, with songs
feeling less like the work of a teenage Robbie Shakespeare and more like that of a
mature Win Butler. ‘Trials’ focuses on slightly sinister undertones, with
staccato guitar and piano accenting the Beta Band vibe flowing throughout.
‘Worth Keeping’ keeps restrained in the first half and then lyrically whimsical in its closing. Elsewhere, Wild West themed ‘Old Dusty’ manages to
traverse around the edges of tortuous superfluity and instead plants
itself somewhere between emotionally immediate and musically ingenious. Also,
the line “You gave me dirty looks” seems destined to become as iconographic as
“This ain’t your home”.
Arthur also harks back to the grapefruits of old; single
‘Congratulations’ has an instantaneous hook, baring its sugar coated fangs and
sinking in early, and ‘Under Construction’, is a welcome return to hook-laden abrupt bubblegum
sweetness, sounding like a cut from 'The World's Smallest Violin'. It’s hard to point out real negatives on this release, though, apart from the odd moment of lyrical cringe (see ‘Cardboard Box’ and ‘Mr.
Radiator’ for the worst offences). In fact, ‘Mr. Radiator’ is the only track
that really misses the mark, featuring both the album's worst lyrics and most
uninspired music. It’s not a terrible song, it’s just a rock in an ocean of
diamonds is incredibly hard to ignore.
Overall? Well, the final track, ‘The Doors’, aptly explains the release as a whole. This track is epilogical in almost every
sense; it encompasses almost all previous sounds on the album, forming a six
minute dash of irresistible baroque pop chip with more hooks than a fisherman’s
cloakroom. It jumps from sweet and pop-heavy to drawn out and
controlled affection, winding its way to a grandiose finale. If last year's EP turned you off J Arthur's new direction, 'Mighty Social Lion' won't amend your position. However, by featuring sublime maturity alongside emotional
cognizance, J Arthur has never sounded better.
Favourite track: The Doors
Grab a the release right here!
Favourite track: The Doors
Grab a the release right here!
