Karen Jonas never disappoints when making music that turns heads and invites listeners to will her to greater heights. Past albums have teased and tantalised those trying to work out who Karen Jonas is as an artist aside from the all-important accolade that she writes and presents music that duly entertains. Comparisons with past work inevitably comes into play when a new release emerges. From a high bar this Virginia-native makes a giant leap forward and forcefully demonstrates that positive evolution is the only game in town. THE RESTLESS is a supremely crafted album showcasing an artist seemingly at ease with their musical calling. The big clue is the uncut spoken ending "Ok I'm happy now". A feeling concurred from repeated deep dives into an album full of fascinating allure.
The trio that eventually brought their music to Europe last summer significantly moved the marker of Karen Jonas forward. Tim Bray, who particularly excelled when witnessing his playing close up at shows, and Seth Morrissey are right at the heart of a new album as ten new tracks emerge boosted by one doubling up at the end in an acoustic format. The repetition of the pre-release promoted 'Lay Me Down' in stripped down mode as the finale is far from a filler and ensures that not a second of the 42-minute running time is wasted.
Although Karen Jonas propels her music from a base knee deep in country and Americana influence, there is a classical European twist suggesting she is all ears to a wider world around her. Two tracks that help form this view are opener 'Paris Breeze', which is far more cosmopolitan than a mere title, and the punchy 'That's Not My Dream Couch' with shades of Reinhardt picked up.
While these two key tracks help form the crust, there are a further formidable quartet that inch ahead in any objective desire to find the album peak. Resolutely lodged at the summit is a high quality near 4-minute masterpiece to hold your breath. 'Elegantly Wasted' is a gorgeous piece of slow moving finesse. Song of the year candidates can spring up even in February.
Evocative joins gorgeous in the adjective queue describing 'Forever'. Outstanding can be added to 'Throw Me to the Wolves' that seals the deal just before we close out in the aforementioned stripped down mode. 'Drunken Dreamer' is an adorable slinky number serenaded by piano and awash with intriguing lyrical content. There is an ethereal thread to the overall sound propped up with the secure foundations of staple country rock.
There has always been a quirky side to Jonas's vocals and general music demeanour. This surfaces early on in 'The Breakdown', a track where the feel gets a little funky. Innovation in the opening alongside a developing guitar input and a climactic ending frame the other pre-release promoted track 'Rock My Boat'. 'We Could Be Lovers' possesses a distinct interesting opening and unashamedly adds to a jazzy blues laid back feel that pulls the mood away from a traditional roots stance that may have defined her music in the past. This is definitely an album with night time vibes.
The legacy of THE RESTLESS is a desire to hear these songs on European soil. Obviously many factors need to come into play for this happen, but the surfeit of fabulous music is aplenty. Karen Jonas's work is sparked by sharp writing, and is constantly resourceful. Underpinned by exquisite musicianship, she brings an album to the party that shines a brand new light on a talent. One with plenty of credit in the bank for fans with an articulate take on music rich in heritage