Release Date: Apr 28, 2015
Record label: Bloodmoss Records
Genre(s): Pop/Rock, Alternative/Indie Rock, Indie Pop, Neo-Psychedelia
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.
“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.
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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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.