Review: Jesse Sykes And The Sweet Hereafter ‘Forever, I’ve Been Being Born’
Following the dissolution of short-lived band Hominy, which Jesse played in with then husband Jim, she teamed up with Whiskeytown’s Phil Wandscher in 1999 to form Jesse Sykes And The Sweet Hereafter. To date, their catalogue comprises 2003’s Reckless Burning, 2004’s Oh, My Girl, 2006’s Like, Love, Lust And The Open Halls Of The Soul, 2008’s Gentleness Of Nothing EP, 2009’s The Tempest EP and 2011’s Marble Stone.
Since then, things have been on the quieter side due to the departure of two members, Sykes herself stating ‘we had to grieve that loss, and in doing so, we had to separate ourselves from making music for a while’. The Sunn O))) connection also needs highlighting. Jesse co-wrote and sang on The Sinking Belle (from Altar, the band’s collaboration with Boris), and this, her latest release, is being released jointly by Southern Lord and Ideologic Organ. Hence, my incentive for covering it for The Shaman.
Feather Treasure recalls Hope Sandoval & the Warm Inventions with its dreaminess and warmth, while the country elements, the guitar ‘twang’ and vocal drawl, are quite understated. The psychedelic drones also go some way to explaining the appeal of the project for Messrs Anderson and O’Malley. A fantastic opener.
Gentle Chaperone has a folk flavour, ala ‘70s heroes Sandy Denny, Bert Jansch etc, but with a more contemporary twist. Its elegiac and not unlike the sounds found on Alain Johannes’ magnificent 2020 album Hum. Jackson C Frank’s Blues Run the Game springs to mind on Dewayne, and there are shades of Led Zeppelin’s No Quarter with some of the guitar effects, giving it a wonderfully mysterious sensibility.
On I Still Hear Lorelei, Jesse, as with the legend referenced in the track’s title, sounds enchanting, drawing you in the whole time, though thankfully, unlike Lorelei, it won’t lead to your demise. Instead, there’s a grungier, darker vibe which can be found on the late Mark Lanegan’s (RIP) early solo work, majestic.
the years seem to melt away as you’re listening to this expertly crafted, sensitive piece of work…
Winter’s Empty Pages marks the album’s halfway point and is stacked full of lovely harmonies that you can envisage Crosby, Stills & Nash concocting before the quarrels and coke took hold. It’s apt that the record was released just before Christmas, as this track bears all the hallmarks of being a true seasonal classic, far removed from the vomit-inducing likes of Mariah Carey.
Dead End Pools is a personal favourite; the only way to describe it is Carly Simon fronting Mojave 3, with a little Tarnation slipped in for good measure. Classy stuff. Oh, My Sitter is strangely subdued and fans of Marissa Nadler’s brand of gothic dream-pop will find it appealing, as do I.
The title track, Forever, I’ve Been Being Born, is epic and not just in terms of length. Some of the guitar work, for instance, is exquisite and surprisingly heavy for what has been a mainly mellow affair; the vocal timbre also bears similarities to the late Marianne Faithfull, who in turn was shaped by her life experiences. Reading the promotional notes and Sykes’ own challenges, one can’t help but draw comparisons.
Elliot Smith’s hauntingly intimate musical style and intricate fingerpicked Guitar come to the fore on My Sweet Hereafterand A New Medium will evoke memories of Joni Mitchell’s Blue and that record’s confessional approach, resulting in a painfully raw yet ultimately satisfying conclusion to the album.
It’s hard to believe that Jesse Sykes And The Sweet Hereafterhave been absent for well over a decade; the years seem to melt away as you’re listening to this expertly crafted, sensitive piece of work.
Label: Ideologic Organ | Southern Lord
Band Links: Official | Facebook | Bandcamp | Spotify | Instagram
Scribed by: Reza Mills
