Reviews

Faultlines review (muzic.net.nz)

I believe something fundamental changed in both the music industry, and the public consciousness, when Taylor Swift released Folklore in 2020, bear with me here.

Folklore created space in the top 40 for a more stripped down sound, with more focus on lyricism and emotion. The rise to prominence of artists such as Tyler Childers, Zack Bryan, Boygenius and Colter Wall.

All that to say, the timing of Rob Joass’ Faultlines is excellent, or maybe serendipitous, in this case, as Rob himself had stated after the release of Pencarrow in 2019 that he may not release another album. Fortunately, for us, and himself, the compulsion to create won out in the end, and this wordsmith and songwriter, a veteran touring artist, who has likely played more shows than I have had hot dinners, decided once again, to commit his words and music to wax, and offer another album to the world.

A five year break between albums, especially in this genre, where the best songs are crafted out of deeply meaningful life experiences, is oftentimes a good sign in my experience, and from the opening lines of the first track, The Last Rodeo I feel vindicated in this particular theory.

I like to divide music in this umbrella into three subgenres; Beer and Bonfires, Whiskey and Tears, Wine and Nibbles. This album falls into the latter category, it is mature and thoughtful, unpretentious, but still gives the opportunity to get a bit sloshed and have some fun. This album will be going on my “art exhibition opening night” playlist.

From the opening line of the first track The Last Rodeo; “First you leave home, then you come back again” to the very last defeated utterance of “I’ll see ya round” in the final track “Unrequited” we are treated to a hypnotising narrative, this album reads like a poet’s diary, painted on a canvas of guitar, strings and piano, layered with emotive, watercolour vocal harmonies.

A masterful self portrait of the artist.

The titular track, Faultlines an ode to Joass’ home City of Wellington. Recorded with Hobnail, Rob Joass’ long time recording and touring band, is the earworm of the album, and the most radio friendly track. I challenge anyone not to get the chorus stuck in their head, although The Last Rodeo runs a close second in terms of catchyness.

I am enamoured with the little Bob Dylan-esque moments, such as the first verse in the albums second track Bye Bye Pride where Joass allows himself to get more abstract with his lyrics but brings it all back into focus with an exploration of dynamic range, not through volume but the depth of layers of vocal harmony and instrumentation.

Sirens is another standout for me, the percussion, keys and slide guitar in the intro give a whiff of Nick Cave, and the track evolves into a foot stomping bluesy romp, huge credit to the understated and demure vocal performance of Lynley Christofferson.

Photographs Of You is one of my favourite love songs in a long time, vulnerable and realistic about what love feels like as we get older together, the kind of love that you have put enough work into that it can take a joke. The type of love, with laugh lines and a few grey hairs showing, does not get enough appreciation in a world where it seems everyone is looking for the next, best, thing.

This is an album worth a minimum of a few playthroughs, it's one that may grow on you with time, I initially found some of the call and repeat patterns slightly overcooked ,but given a chance it begins to make sense, and lyrics that may have made me cringe a little on the first listen became my fast favourites in the greater context of the album, give it a chance, have a shiraz, and let it play out again, it might be heavy on the nose, but the mouthfeel is smooth and the aftertaste sweet. 

Thank you Rob Joass, for putting your heart on your sleeve, and giving this piece of artwork to the world. In spite of people's ideas of fortune, fame and glamour, being a working musician is hard graft, it takes a lot of courage and tenacity, and to continue contributing to the Aotearoa music scene as you have for 30 years or so is an incredible effort, deserving of applause. This album is, in my opinion, your best offering thus far. Not your first, but I really hope it will not be your last rodeo.

Pencarrow is the third album released by musician Rob Joass, who calls the Kapiti Coast home, or Turangawaiwai, if you will.

With more than 25 years as a musician under his belt he's no stranger to writing, playing and recording music to a high standard.

Pencarrow continues this tradition for him. On first, second and third listens it is easy to call him a songwriter's songwriter, much like some of the other songwriters he looks up to including Australian songwriting legend Paul Kelly, but more about him later.

The song, The Sweet Unknown, features the phrase: "Let's hear it for the angels watching over us", which is repeated like a chant of a mantra, and has a hypnotic quality. Sometimes a songwriter's greatest gift is to know which words to repeat, and it works really well in the above example.

Overall it sounds like this album was recorded in a high quality home studio, and it has a very live feel. It is pretty much Joass and his guitar, with a few over dubs providing melodies which weave around the central tune of each piece.

Train, Train is one of the more up-tempo songs on the album, and even though it's like many others and only really guitar and vocal, the song chugs along with a rhythm not dissimilar from a train.

One song which stands out is his version of the Paul Kelly penned When I First Met Your Ma. It's a faithful version which retains the charm and beauty of the original yet Joass has definitely made the song his own.

The mix and mastering of Pencarrow is beautifully done, understated and allows the songs to breathe.

Rob Joass is taking Pencarrow on tour around Aotearoa from March to May, and it would be well worth a listen live.

Black and White by Rob Joass is a pleasant album that harkens back to the roots of folk music. With a stripped down, minimal feel, you really can't help but detect a timeless flavour in the offering. 

Arriving 18 years after Rob's debut CD, he seems experienced and it shows. There's a hint of smooth swagger in his voice as he croons over warm guitar strums. It makes for a pleasant sound.

Rob changes it up in certain songs with organ solos and beaming harmonicas, and this is where the music shines. 'The Winter Bells' is a great example of this, solid songwriting mixed with excellent instrumental sections work to show what he is capable of. Rob's novelistic approach to writing the lyrics pays off, each song feeling like its own self contained world.

'Waiting For The Long Train To Pass' is an excellently named little instrumental track, perfectly placed to help the listener collect their thoughts before the album wraps up, and before the cheeky Kiwi accent pokes through in 'A Glass Of Cheer'.

Black and White is a solid addition to the folk ranks. The stripped down style provides a raw and personal experience, while maintaining a mature, grounded tone that makes it all feel very honest. It's definitely worth checking out. Let's hope the next album is a bit closer on the horizon.

Accomplished singer-songwriter Joass from Wellington (of Hobnail and The Shot Band) offers this second solo album which include a re-hit at his excellent 2006 Dead in the Water (which was nominated as country song of the year) and a powerfully beautiful new song The Winter Bells with Wayne Mason on Hammond. And the spare Jimmy Ray is an emotionally engaging story from a Death Row prison cell. Nine well focused songs and a lived-in voice.