JAGGED CITY DEBUTS WITH INSTRUMENTAL EP ‘THERE ARE MORE OF US, ALWAYS’
One of the most interesting things about instrumental albums is the way the absence of lyrics opens up a world of possibilities to infuse meaning into the listening experience. What Jagged City has done with their debut EP There Are More Of Us, Always is create a beautiful soundscape full of passion and ferocity. The invention of Jake Woodruff (Defeater) and Carlos Torres (former touring member of Explosions In The Sky) began as a casual exchange. The two traded ideas that later grew into compositions and full arrangements as David Haik helped refine structures and drum composition. When it came time to put things into action, a series of scheduling issues created a perfect storm of creation. Urian Hackney joined the project on drums and behind the scenes alongside Carlos and Jake during a two-day creative frenzy at The Box in Burlington, VT.
“We wrote with pure instinct, just tried to add something new to a genre that we love. As we traded ideas, we took some left turns and incorporated elements that may be unexpected.“ — Jake Woodruff
This instinct drove them to create what is an adventure in closeness and collaboration. It rewards those who focus on the technical, as Urian Hackney delicately managed the mixing process. It delights fans of Explosions In The Sky, with Michael James joined in on bass recording. Takaakira “Taka” Goto of MONO contributed to the haunting guitar on “(deluge in a paper cup)”, a long-time friend of Calos’ since performing together at AFTER HOURS FESTIVAL in 2019. That long time trust allows for Taka’s signature style to truly shine and deepen the emotional impact of the grand finale.
The EP opens with a quick 41-second introduction: “(don’t dream it’s over)” is an acoustic-led piece that does an excellent job opening the scene. It blends seamlessly into the next track, “Imaginary Lines”, which is a dark, fuzzy-sounding work. The way the sound loops is soothing. While certainly not quiet, it feels subdued as the bassline thrums a sparse tune behind the gritty guitar. The track is cymbal-heavy, as the drums are similar to the bass in their rarity, giving a sharp overlay to everything. Then there’s this moment where the guitar draws out, everything else is silent, and you feel this intense pull before things crash back into focus.
“Rain And Sirens” begins just as soothingly. The initial simplicity feels like a continuation of the theme. The calm before the storm. Then, the cymbals break through with a crash, and the guitar explodes into this dizzying spiral. It pulls to these exciting heights, the bass a steady metronome in the background before plummeting. At that moment, you think that’s it, that’s the big moment, but then things rise again. It’s louder this time, more frantic, the kickdrum coming to the forefront with almost oppressive force. Then just as quickly as this happens, it’s like the skies clear, the guitar sounds one final note, and it all fades away.
Personally, I think my favorite track on the EP is “Ocean East, Ocean West”. It has a fascinating combo of heated guitar riffs and intense chugging. Like most of the other songs, it does open up rather calmly. The guitar is sweet, the drums a bit more intense with a tripping tempo, the bassline again a quiet note in the background. Then it gets layered in a thick essence of tar. It gets grungier, heavier, and harsher. The way the guitar slides through is similar to a snake in the desert, moving this way and that. It’s got a sultry feeling to it, the way the sound just presses against you. It ends almost abruptly, but the impact of this one lingers.
“Hairspring”, to me, is a more upbeat and jaunty part of the EP experience. The guitar is playful, skipping from one note to the next for the majority of the song. The stand out moments veer between these quiet, echoed guitar moments to the more sweeping sections where the cymbals hit like crashing waves. The looping riffs play out to the end in a way that sends you into a trance.
On the topic of trances, “Minus Power” is particularly dream-like. Things have quieted down. The guitar loops and echoes. The drums are subdued. The bass is this soothing whisper. It sounds like a lullaby. The song is cozy and nostalgic, somewhat beachy; it envelopes you with a sense of calm. An island of peace in the chaos.
“(deluge in a paper cup)” has a similar sense of nostalgia, the way the track opens as if filtered through a radio. Then, the song lives up to its name as every sound comes pouring out. The pace is breakneck as it flows. Unending and intense. The contrast of rapid-fire drums and the racing guitar with the simpler notes overtop like skipping stones on a river. Through it all, you can feel the intensity of the moment where this song was created. It’s the true culmination of everything. Letting go with a crash instead of fading away. It’s chaotic but in a way that feels freeing.
“This record is a product of collaboration and love and creativity—we hope it inspires people to be connected and think collaboratively and creatively together. That's the only way forward.” — Jake Woodruff
I think the intent to make something that brings people together was achieved. Like a treasure map or a puzzle, there are so many pieces of the EP to get lost in. The nature of its creation seeps into the experience. I already have friends lined up to share this with, and plans in motion to discuss how it hit all of us. Any album that inspires that sensation (Something I also felt listening to Lonely People With Power by Deafheaven or Dull Bliss by Sainthood Reps) that desire for collaboration, is a masterpiece in my book. Especially in a time like this, it’s good to be reminded that “There Are More of Us, Always.”