Send "Jackie" Ringtones to your Cell 
| Dustedmagazine |
![Jackie-O Motherfucker - Freedomland [Live] review](http://www.sweetslyrics.com/poze/review_id-4589.jpg) Freedomland documents a series of live performances by the summer 2006 incarnation of Jackie O Motherfucker, an outfit centered around guitarist and turntablist Tom Greenwood, but with a rotating cast of supporting members. This version of JOMF is a particularly incendiary one, jettisoning the gentler folkier experiments of the Theo Angell/Samara Lubielski years, and focusing instead on a noisy, freely improvised clatter and storm. The impetus for the shift is likely Inca Ore’s Eve Salens, who also sang with JOMF on 2006’s Valley of Fire. She is an extraordinarily volatile presence here, caterwauling and moaning and free-associating through a minefield of explosive sounds. Utterly unconstrained, she has a speaking-in-tongues quality that encourages everyone else in the band to greater levels of cacophony. Consider for instance, the relatively accessible opening track "Devotion" where she chants "You know devotion," over and over at escalating volumes. As she approaches catharsis, the drummer, Danny Sasaki, follows right along with her, his pounding coalescing into an almost continuous barrage of pounding. The guitars, too, erupt into jagged masses of discord, underlining the chaotic crescendo. The lyrics seem almost random. They are delivered in a flat sing-song with odd syllables emphasized. And yet, the excitement is palpable....full text |
| Popmatters |
| The freeform music community often traffics in gratuitous completism in the form of extremely limited run self-made CD-Rs and cassettes. And truth be told, there’s plenty to be learned from a live take of a performance that studio details can’t teach. Take “Pull My Daisy” (named after an Beat-era exquisite corpse poem/film) off of Jackie O Motherfucker’s all-improv, all-live Freedomland. The song defiantly exhibits the chatty crowd patter of the average noise audience, who seem distracted and disinterested until the band’s wild maelstrom of lysergic cacophony gives the onlookers something that’s extremely hard to keep their eyes and ears off of. Still, it’s curious why this series of live takes, recorded from the ensuing tour that followed Jackie O Motherfucker’s most commercially viable album to date (Flags of the Sacred Harp), was released on a major indie like Very Friendly rather than the bandrunner Tom Greenwood’s own U Sound Archive. To call these recordings bootleg quality is to strongly discredit advancements in modern bootlegging technology. The ecclesiastical upward-bent synth drone and cautious histrionics of vocalist Eva Salens (also known as Inca Ore) may lead to an empyreal jam session a la Sun Ra on “Shukran” (Arabic for “thank you”), but even the notoriously lo-fi Sun Ra had better production values than this track, which sounds like it was recorded on a boombox, does. That the finales of tracks like the aforementioned “Pull My Daisy” are clipped rather than faded out can be attributed to nothing but sloth. As good as some of the material is and as traditional as the freak-folk free-jazz outfit is (they don’t even have an official web site), it almost seems archaic to release an album like this onto a public fed up with buying physical music....full text |
| Tinymixtapes |
| Portland-based experimental collective Jackie-O Motherfucker is responsible for a couple of important moments in my last decade of music listenerhood. Reviews of their 1999 record Fig. 5 inspired me to try something I’d normally not’ve had the patience for, and the enthusiasm I developed for that warm, mystical record of reimagined American folk songs bled onto the following year’s Liberation, another great piece of experimental free folk-jazz. But despite the rewards of careful listening to both records, 2005’s Flags of the Sacred Harp was my clear favorite: significantly more accessible and melodic than the band’s prior work, but still richly conceived and brilliantly produced — it’s the one JOMF record most deserving of more recognition than the group’s been given to date. Naturally, I was eager for a chance to review a new JOMF record, having missed last year’s Valley of Fire. The new album, Freedomland, turns out to be a collection of live recordings from 2006, following the release of Flags. But once again the Motherfuckers have thrown a curveball. Rather than reimagining Flags’s languid beauties, Freedomland instead offers a five-song platter of original, improvised numbers not found on any of their studio works....full text |
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