Album Review: Sunshine Redux by Jackson Scott

With his 2013 album Melbourne, lo-fi neo-psych weirdo Jackson Scott made a strong debut, full of oddly pitched vocals, time-traveling arrangements, and the kind of songs most neo-psych weirdos wish they could write. His second album, 2015's Sunshine Redux, is even better, even weirder. Scott seems more in control of both the recording process and his songwriting.

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“No guts, no glory,” Jackson Scott yelps in his half-baked murmur at the end of ‘Broken Record Repeat’, the second track from his sophomore album ‘Sunshine Redux’. It may be a small lyric during the final seconds of the song, but it’s definitely an accurate summation of what’s occurred since North Carolina’s Scott recorded his debut ‘Melbourne’ in a ramshackle house with his mates. Where ‘Melbourne’ was essentially a collection of bits and bobs that put Scott on the playing field as a macabre and ghostly weirdo-artist, ‘Sunshine Redux’ opens the bedroom windows and let’s some fresh air in, allowing Scott’s music to become more wide-eyed and panoramic in the process.

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There were some fine songs on Jackson Scott’s proper 2013 debut, Melbourne, and the North Carolina singer/songwriter also fit a trustworthy archetype—the prolific slacker, or the ambitious, yet self-sabotaging auteur. While Ariel Pink and Bradford Cox and Mac DeMarco have become indie rock A-listers with serious influence, they too had to start somewhere, and Melbourne may have actually been more accomplished than some of their earliest releases. But Scott’s follow-up, Sunshine Redux, doesn’t just defy or confound expectations—it fails to acknowledge their existence.

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You know about the big releases each week, but what about those smaller albums which may have passed underneath your radar. Don’t miss out on the smaller, lesser-known gems which might become some of your favourites. We’ve rounded up six of the best new album releases from this week: catch up ….

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In 2013, then-twenty-year-old Jackson Scott emerged from the Soundcloud ether seemingly fully formed. The Asheville, North Carolina native was a psych/noise-pop fan’s wet dream: an exceedingly talented songwriter and experimentalist that idolized Syd Barrett; a lo-fi auteur unafraid of multitracking or vocal modulation, modern touches that — when combined with his penchant for making the lysergic listenable and bestowing a certain indie-pop sensibility to the sometimes-abstract proceedings — earned him comparisons to contemporary artists like Bradford Cox and Jeff Mangum, though he claims Weezer as a more direct influence. Melbourne, his debut LP released on Fat Possum records, was a freaky, precocious feat, a kaleidoscope of (Orange) sunshine-drenched acoustic guitars and 60’s pop melodies that appeared free flowing and effortless.

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