Jackson Scott’s oeuvre has been described as “apocalyptic Pop,” and it seems as good a tag as any. Scott has a facility for translating ennui, dread, resignation and any number of other dark emotional states into intriguing lo-fi Pop music that is long on experimentalism and exploration and brutally short on fidelity and giving a shit what anyone else thinks. Scott’s debut album, 2013’s Melbourne, was a bracing set of raw and rapturous Pop melodicism with enough quirk to make Emo
Jackson Scott’s oeuvre has been described as “apocalyptic Pop,” and it seems as good a tag as any. Scott has a facility for translating ennui, dread, resignation and any number of other dark emotional states into intriguing lo-fi Pop music that is long on experimentalism and exploration and brutally short on fidelity and giving a shit what anyone else thinks. Scott’s debut album, 2013’s Melbourne, was a bracing set of raw and rapturous Pop melodicism with enough quirk to make Emo Phillips jealous. His latest, the recently released Sunshine Redux, has been dinged for going further in that direction, but pay no mind to such talk. Jackson Scott knows you don’t blaze trails by going where other artists have already gone.
YOU’LL DIG IT IF YOU DIG: Syd Barrett and Rick Wright haunting Mitch Easter’s studio to make the Ghost Floyd album. (BB)
