{"id":241585,"date":"2022-02-21T00:00:10","date_gmt":"2022-02-21T05:00:10","guid":{"rendered":"https:\/\/25yearslatersite.com\/?p=241585"},"modified":"2024-01-24T23:56:11","modified_gmt":"2024-01-25T04:56:11","slug":"joy-on-fires-unknown-cities","status":"publish","type":"post","link":"https:\/\/tvobsessive.com\/2022\/02\/21\/joy-on-fires-unknown-cities\/","title":{"rendered":"Joy on Fire’s Unknown Cities"},"content":{"rendered":"

\u201cWhy are you always writing battle music?\u201d That\u2019s how Joy on Fire bassist and principal songwriter John Paul Carillo said that their saxophonist Anna Meadors described their music when I <\/span>interviewed the pair<\/span><\/a> last year. In their latest release, <\/span>Unknown Cities<\/span><\/i>, the jazz-punk trio continues to flex their high-energy battle music muscles and virtuosic technique, while also continuing to show that they are equally adept at mixing things up.<\/span><\/p>\n

We’ll actually begin with the final song on the album. One of my favorite things about Joy on Fire is their willingness to step away from their otherwise more characteristic sound. In the midst of their \u201cbattle music,\u201d a song like \u201cRhopareptilia\u201d from their <\/span>Hymn <\/span><\/i>album will come on and catch your ear for entirely different reasons. The album\u2019s title track, \u201cUnknown City,\u201d is the latest example. There is a sort of active stasis to the song; while terms like \u201charmonic stasis\u201d and \u201crepetition\u201d are apt descriptors, they belie the song\u2019s bubbling energy and layered orchestration. \u201cUnknown City\u201d seems to recall <\/span>1960s minimalist music<\/span><\/a>\u2014I especially hear shades of <\/span>Terry Riley\u2019s \u201cIn C\u201d<\/span><\/a> in the pulsing notes that begin the piece. The association to minimalism is strengthened by the <\/span>Moog-like<\/span><\/a> synth bassline that runs throughout most of the song. Climaxes are achieved less through harmony and melodic peaks but through adding additional layers. It\u2019s also worth noting that \u201cUnknown City\u2019s\u201d minimalist influence delineates it from \u201cIn Speaking Like Thunder,\u201d even though both songs contain lyrics by poet Dan Gutstein.<\/span><\/p>\n

In many ways, the video for \u201cUnknown City,\u201d directed by both Meadors and Carillo and which is making its debut below here on 25YL\u2019s Music Obsessive, complements the music very well. The combination of repetition, layers of images and fragments of images, harmonic stasis, and Gutstein\u2019s lyrics (which heavily utilize repetition as well) create a hypnotic effect on the viewer\/listener.\u00a0<\/span><\/p>\n

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The first track on the album, \u201cKung Fu Tea Party,\u201d immediately showcases the band\u2019s strengths and versatility. Much like its title, the song is divided into two main sections, a pure \u201cbattle music\u201d (the \u201cKung Fu\u201d) section featuring menacing bass guitar and firey, sometimes siren-esque saxophone, and a much more melodic coda (the \u201cTea Party\u201d). Meadors\u2019 saxophone playing shines in the \u201cKung Fu\u201d section: Carillo\u2019s dark bass defines the song\u2019s attitude, but Meador\u2019s playing defines the song\u2019s swagger.<\/span><\/p>\n

When I interviewed the band, I asked them about what I called \u201csequel songs,\u201d and there are (at least) two such songs on <\/span>Unknown Cities<\/span><\/i>: \u201cCNC Pt. 2\u201d and \u201cThe Complete Book Pt. 4\u201d (the latter of which was hinted at during our conversation). \u201cCNC Pt. 2\u201d is the follow-up to the album\u2019s previous track, \u201cChina, North Carolina,\u201d while \u201cThe Complete Book Pt. 4\u201d is the third installment in a series of songs that started with \u201cThe Complete Book of Bonsai\u201d from their 2018 album of the same name (ironically, there isn\u2019t currently a \u201cPt. 3\u201d). One of the main connective threads between \u201cComplete Book Pt. 1\u201d and \u201cPt. 4,\u201d and not one that I\u2019m even sure was intentional, is the nearly song-length build towards the climaxes that the two songs share, steadily adding layers and volume until the wave finally breaks.<\/span><\/p>\n

Because \u201cChina” and \u201cCNC\u201d flow seamlessly into one another, using similar basslines as their connecting thread, it isn\u2019t a stretch to say that their combined 18-minute runtime makes the two songs the de facto heart of the album. \u201cChina” begins with an extended solo from Meadors bolstered by looping and other electronic effects; after some time, the solo\u2019s more contemplative nature gives way to an infectiously grooving bassline. Drummer Chris Olsen really gets to shine in \u201cCNC,\u201d even before his extended solo closes the song.<\/span><\/p>\n

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The opening of the fifth track on the album, \u201cIn Speaking Like Thunder (Red Wave Slow Mix)\u201d strikes me as slightly more anthemic with its soaring electric guitar. It is also the first of two tracks on the album with lyrics and vocals by Gutstein (maybe the typically instrumental band chose to take the phrase \u201cIn Speaking\u201d literally!). One of my favorite moments on the album occurs about two-thirds of the way through the song when there is an interplay between Gutstein\u2019s vocals and Meadors\u2019 layered saxophones. During this section, Meadors mimics the cadence of Gutstein\u2019s lyrics (or maybe, in keeping with the theme of speaking <\/span>like <\/span><\/i>thunder, it is the other way around?). Even though it\u2019s brief, it\u2019s a very cool effect. This section kicks off the song\u2019s climax, where structure and form seem to disintegrate into a thunderous wave of sound complete with timpani drums.<\/span><\/p>\n

\u201cIn Speaking\u201d moves fairly smoothly into the following song, \u201cRed Wave.\u201d I\u2019m not sure if \u201cRed Wave\u201d qualifies as a sequel song, although the words are in the full title of \u201cIn Speaking” and the chord progression is very similar. True to their name, I think that \u201cRed Wave\u201d is the most joyful track on the album. The first half of the song seems to be in a verse-chorus form\u2014a standard pop music form that I don\u2019t typically associate with Joy on Fire\u2019s more rhapsodic style\u2014before loosening up for soloing. I especially like the chorus, which occurs roughly 1:20 into the song, which adds clapping effects to Carillo\u2019s driving bass, Meadors\u2019 thrilling saxophone \u201cvocals,\u201d and Olsen\u2019s crashing cymbals.<\/span><\/p>\n

Overall, <\/span>Unknown Cities<\/span><\/i> is another strong and exciting entry in Joy on Fire<\/a>\u2019s catalog. The band\u2019s virtuosity\u2014both in their playing and songwriting\u2014and chemistry are on full display throughout.<\/span> \t<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cWhy are you always writing battle music?\u201d That\u2019s how Joy on Fire bassist and principal songwriter John Paul Carillo said that their saxophonist Anna Meadors described their music when I interviewed the pair last year. In their latest release, Unknown Cities, the jazz-punk trio continues to flex their high-energy battle music muscles and virtuosic technique, […] More<\/a><\/p>\n","protected":false},"author":318,"featured_media":269138,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6158],"tags":[8626],"yoast_head":"\nJoy on Fire's Unknown Cities | TV Obsessive<\/title>\n<meta name=\"description\" content=\"Jazz punk band Joy on Fire debuts their new music video, "Unknown City" and Nick Luciano reviews their new album, "Unknown Cities."\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/tvobsessive.com\/2022\/02\/21\/joy-on-fires-unknown-cities\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Joy on Fire's 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