Not much is different from SJ5′s previous albums; you can still hear that sound that is distinctly theirs: the use of guitar melodies and generally being very upbeat. The only change I can hear of is a lesser influence of jazz/funk. There is more of a concrete mainstream post-rock sound, defined by repetitive melodies, distortion, and on occasion the quiet-loud crescendo normally found in the genre. While there is a definite change in direction, it is still distinctively SJ5.

The album starts off with “Face the Fax,” which has a hard, distorted appeal to it. The melody is equally enticing, played by strings (and on occasion, even plucked) and guitar simultaneously. SJ5 have always been known to be able to kick it up a notch through their bubbly melodies, but I think this particular album shows it off more explicitly. The melodies are often played by the guitar, but they are also usually played with two entirely different instruments, whether it be strings and guitar, or piano and guitar.

“Hey Now, Who Really Cares” is the perfect example of how SJ5 really gets into the dynamics of their sound. The track starts of quite slow, and at about two minutes in, switches into an entirely different sequence. After about forty seconds of that, it retreats into the slow paced melody of guitar and piano. And then at the four-minute mark, switches back yet again to a harder, faster pace. And etc. All this without sounding totally inconsistent and annoying. This particular track proves that SJ5 really know how to experiment with processes of change.

The album is pretty consistent overall; you never really know when one track ends and another starts. It’s obvious the production and arrangement of the album has been thoroughly thought out. The instrumentation is pretty impressive; SJ5 incorporate all different kinds of instruments into their music, from sharp brass instruments to delicate strings. Being able to manipulate a variety of instruments into their music makes their sound all the more richer, I think. There aren’t many moments where I feel something is out of place or missing; in fact, I feel so over-saturated with their music I can hardly contain myself.

While I definitely liked the album overall, some tracks I just didn’t care for, especially the title track. In the two and a half minutes of its existence, it remains relatively constant in terms of melody. While this might seem normal for a post-rock album, for SJ5 it really isn’t. As said earlier, SJ5 is really all about their melody. For a song that has one unchanging riff, it becomes tedious to listen to–perhaps only because it’s taken into context (i.e. SJ5 = melodies). At the two-minute mark, a viola begins to play for about five seconds, but then the song closes in soon after. I expected a little more out of that particular aspect of the song, because it started to sound good for the five seconds it lasted. That’s too bad. I really wonder why that was chosen as the title track, because it really doesn’t prove the goodness that is SJ5 at all.

Otherwise, the rest of the album is fantastic. A definite recommendation to those who aren’t into the slower, more meticulous post-rock (although the album has a couple of slower-paced songs). Fans of SJ5 shouldn’t be disappointed with this album, since it falls in relatively the same line as the band’s previous albums. This album’s been anticipated for a couple of years now, and it surely doesn’t disappoint.

The Samuel Jackson Five – Hey Now, Who Really Cares

The Samuel Jackson Five – So many Cowboys, so few Indians

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Hmm…how would I describe their music? Definitely a fusion of post-rock and jazz. You’ll find this fusion is more apparent in Same Same, But Different than it is in Easily Misunderstood; “Counting Sheep,” “Sing Slow, Walk Fast,” and “Postmans Joke” (all from Same Same, But Different) are some notable tracks where you can definitely sense that post-rock-jazz fusion. I can hear the d&b influence in album-titled track, “Same Same, But Different” as well; too bad there’s not more like it. There is an excellent blend of instruments without making it sound overdone; “Michael Collins Autograph” (Easily Misunderstood) is a good example. There’s not a lot of pedal delay, reverb, etc. as you might expect from the post-rock sound. This band can definitely convey a variety of rhythms, from fast-beat bright sounds to psychedelic mellow compositions, but overall they are pretty upbeat which is great if you’re not looking into long-ass crescendo-decrescendo pieces familiar to the genre.

Although I’m not an expert in post-rock, I can definitely say The Samuel Jackson Five step it up from the mainstream. There are some tracks where I find myself go, “Oh yeah—that’s familiar,” but most other tracks surprise the hell out of me. Definitely one of my favourite post-rock artists to date! The band is looking to release their third album this year; possibly with vocals this time round. I highly recommend this band as an essential listen for those interested in getting into the post-rock genre. You will not be disappointed.

Here are a couple of my favourite tracks:

The Samuel Jackson Five – Clubbers Dream (Same Same, But Different, 2004)

The Samuel Jackson Five – Postmans Joke (Same Same, But Different, 2004)

The Samuel Jackson Five – If You Show Off the Milk, Who’s Gonna Buy the Cow (Easily Misunderstood, 2005)

The Samuel Jackson Five – Michael Collins Autograph (Easily Misunderstood, 2005)

Check out their official website to find instructions on how to order their albums.

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