Editor's info:

Somewhere beyond atmosphere but within gravity’s pull—nearly freeform yet defined by its unerring direction—you’ll find Anywhere Out of Everything, the latest (mostly) instrumental full-length from Telephone Jim Jesus. Arriving three years after George Chadwick’s auspicious solo debut, 2004’s A Point Too Far to Astronaut, Anywhere offers further exposition of the themes and methods of its predecessor, but while that last album was celebrated for a lush etherea punctuated by bright bursts of rhythm and light, this one works its duality to the fullest throughout. The end result is a multihued textile of living song that can be admired both for its constituent parts—mini opuses with aural narratives unto themselves—and as a subtly evolving whole.

“Did You Hear?” begins loose and free, warm fuzzy tones and effected acoustic guitar intermittently trading spaces with loping darkness. As the album earns its momentum, Tel Jim Jesus pulls bloops and bleeps down from the atmosphere and welds them to the song body. The opener gets heavier, louder, then boils over in upbeat acoustics and controlled squelch. Alias contributes to “Birdstatic,” which lays a blanket of orchestral synth over a rapid, wooden-block beat, guitar that plays like harpsichord and whizzing bottle-rocket blasts, while “Ugly Knees” weaves rattling, hollow guitar tremolo with big break-beats, stuttering snares and Dictaphone epiphanies from Pedestrian and Doseone. Anywhere’s curious, soma-like acceptance of melancholy as something beautiful and invigorating continues through the slowly unfurling “Featherfall” (featuring electric cello from Subtle’s Alex Kort) and the windy, ominous “Leather & Glue.”

But with “A Mouth of Fingers,” an intricately layered crystalline head-nodder featuring Ped and Bomarr, Anywhere takes a tu.......
more

Editor's info:

Somewhere beyond atmosphere but within gravity’s pull—nearly freeform yet defined by its unerring direction—you’ll find Anywhere Out of Everything, the latest (mostly) instrumental full-length from Telephone Jim Jesus. Arriving three years after George Chadwick’s auspicious solo debut, 2004’s A Point Too Far to Astronaut, Anywhere offers further exposition of the themes and methods of its predecessor, but while that last album was celebrated for a lush etherea punctuated by bright bursts of rhythm and light, this one works its duality to the fullest throughout. The end result is a multihued textile of living song that can be admired both for its constituent parts—mini opuses with aural narratives unto themselves—and as a subtly evolving whole.

“Did You Hear?” begins loose and free, warm fuzzy tones and effected acoustic guitar intermittently trading spaces with loping darkness. As the album earns its momentum, Tel Jim Jesus pulls bloops and bleeps down from the atmosphere and welds them to the song body. The opener gets heavier, louder, then boils over in upbeat acoustics and controlled squelch. Alias contributes to “Birdstatic,” which lays a blanket of orchestral synth over a rapid, wooden-block beat, guitar that plays like harpsichord and whizzing bottle-rocket blasts, while “Ugly Knees” weaves rattling, hollow guitar tremolo with big break-beats, stuttering snares and Dictaphone epiphanies from Pedestrian and Doseone. Anywhere’s curious, soma-like acceptance of melancholy as something beautiful and invigorating continues through the slowly unfurling “Featherfall” (featuring electric cello from Subtle’s Alex Kort) and the windy, ominous “Leather & Glue.”

But with “A Mouth of Fingers,” an intricately layered crystalline head-nodder featuring Ped and Bomarr, Anywhere takes a tu.......
more