North American Press
Publicist: Stephanie Marlow
UK / EUROPE Press - Rarely Unable
Publicist: Lauren Barley
(premiere via Clash Magazine)
Jaye Jayle are ready to unveil the next chapter of their ongoing tale, with new album ’No Trail And Other Unholy Paths’ set to be released shortly.
Envisaged as spread across two sides of vinyl, Side A and Side B interweave, essentially becoming one document, where each path interlocks.
The album was produced by Dean Hurley, David Lynch’s music supervisor of the last twelve years, and will be followed by a full tour.
Jaye Jayle will be joining Daughters for their sold out shows in Chicago, IL on Nov 17 & 18.
Full list via Treble
8/10 Stars via Pop Matters
Evan Patterson is best known for his main band, the fantastic noise rock, psychedelic, post-hardcore act Young Widows. With Young Widows, Patterson explores the experimental edge of the rock spectrum in a unique manner, reconfiguring the ideas of progression and the stylistic tendencies of the genre. However, his other project Jaye Jayle is a departure from that sound, seeing Patterson instead dive into the territory of Americana and producing dark and retro works sourced through blues motifs, country progressions, and folk ambiances.
Evan Patterson’s career has until recently comprised a series of bruising, aggressive if increasingly more spacious recordings. The Louisville musician’s most prolific project to date has been Young Widows, whose post-hardcore has gradually been stretched from concise gut-punches to heavy, psychedelic dirges. Earlier on, he played a role in a number of shorter-lived but consistently aggressive acts including Black Cross, Breather Resist and Black Widows, all of which ranked somewhere between eight and nine on a scale of ass whipping. Jaye Jayle, his latest project, is nothing like any of those bands, and that’s by design. Patterson started it as a solo effort, an avenue for a different sort of dark, nuanced songwriting that didn’t fit in with his heavier full-time band—more Bad Seeds, less Black Flag. Jaye Jayle, too, has been expanded into a proper band, and with the release of sophomore album No Trail and Other Unholy Paths, Patterson reveals himself as much a master at eerily nuanced songwriting as he does at bruising noise rock.
via Treble Zine
Read moreJaye Jayle’s earliest recordings consisted of four 7” singles packaged in the bare-bones dust jackets of early country 45s and etched with the stark Americana-noir of Louisville-based singer/guitarist Evan Patterson. The material was a significant departure from Patterson’s primary musical endeavor at the time—the percussive Sturm und Drang power trio Young Widows—but it fell in line with his ongoing creative arc of embracing of negative space, acknowledging that less is more, realizing that a whisper can speak louder than a yell.
On their new album No Trails and Other Unholy Paths, Jaye Jayle’s transportive desolation and hallucinatory sonic mantras are fully documented in all their glory. With his cohorts Todd Cook (Shipping News, The For Carnation) on bass, Neal Argabright (Phantom Family Halo, Freakwater) on drums, and Corey Smith (Phantom Family Halo) on auxiliary instrumentation, Patterson weaves a tapestry of neo-folk’s economy, krautrock’s experiments in repetition, skid row’s darkest blues, Midwestern indie rock’s nihilism, and early Tangerine Dream’s analog oscillations. The album seethes with tension and anticipation, with a heightened push-and-pull on tracks like “Marry Us” and the second song titled “No Trail” when songwriter Emma Ruth Rundle adds call-and-response vocals to the mix. It’s been a considerable journey from those raw and intimate early 7”s, an evolution undoubtedly affected by the relentless touring schedule that transformed Jaye Jayle from a solo project to an immersive collaboration.
“The album has a lyrical theme in motion and direction, searching and questioning, and discovery,” Patterson explains. “A certainty in placement and uncertainty in destination. Primal consideration for surroundings, which may be or may not have been the surroundings sought after. The grayness of life's paths. The where-have-I-been, where-am-I-now, and where-will-I-be.” It’s a wanderer’s approach that yielded an unlikely romance and expatriate dreams between Patterson and Rundle during a European tour together in support of their split 12” The Time Between Us. It’s an approach also taken to the studio, where the band worked with film composer Dean Hurley—David Lynch’s music supervisor of the last twelve years—to serve as producer. The songs were recorded at Earth Analog by Warren Christopher Gray and handed off to Hurley to manipulate at his will. The result is an album that retains its frugal approach but pushes its aural dimensions to their thresholds.
-- by Brian Cook
