Jay Reatard - Watch Me Fall reviews
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| Ew |
 Funny story: A guy with one of the worst stage names in music (born Jay Lindsey) also has some of its sharpest melodic instincts. The dozen brief, ridiculously infectious tunes on Watch me Fall come wrapped in arrangements that run from frenetic punk to bouncy Britpop to wistful balladry. It's a bravura performance that ought to win this blog favorite the widespread recognition his songcraft deserves. A–...full text |
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| Spin |
Jay Reatard tells a big fat lie with the title of his second solo album’s shortest song, the one-minute, 45-second “Can’t Do It Anymore.” Instead, he’s giving the distinct impression that he can make his roller-coaster guitar roar for as long as he likes. It’s an unlikely story: Pudgy fellow with annoying stage name moves from garage gunk to some of the highest-octane power pop since college radio was guided by voices.
Reatard, born Jay Lindsey in 1980, started making a three-chord thud in his teens with the Reatards, the Lost Sounds, and a host of other bands. But jaws hit the floor in 2006 upon hearing the squirmy, pedal-stomp guitar fuzz and pogo-ready energy of his solo debut, Blood Visions. Six perfect singles followed in 2008; few indie rockers have ever been on a roll like this....full text |
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| Cokemachineglow |
Jay Reatard’s continued drift from curt abrasion has been well-documented, if not outright belabored, since his departure from In The Red and Goner and other earnestly underground labels. His most recent selection of 7” singles, compiled in more marketable form and released to much acclaim by Matador last year, drew out the trajectory clearly: one could trace a line from the boorish garage-punk opener “See/Saw” straight through to the uncharacteristically tender closer “I’m Watching You,” the modest restraint of which suggested only more reservation to come. Thus Watch Me Fall, Reatard’s first proper Matador LP, poses and poses the obvious questions: have his coarser tendencies receded further? Is this the accessible, mainstream breakthrough previously suspected? Is it, whispered, Good News For People Who Love Bad News (2004)? We waited with bated breath.
Watch Me Fall is certainly a lighter affair than its predecessors, but this album is less about evolution than reconciliation—an exercise in splitting the difference between pop and punk sensibilities. Reatard here embraces melody more directly than earlier incarnations of his style would have allowed, much of this material veering into fairly straight-forward indie territory. But the apparent shift toward accessibility is, importantly, only partial: Watch Me Fall, while lacking the outright bite of Blood Visions (2007), thankfully retains a quantum of Reatard’s characteristic gall. The direction in which his aesthetic had been heading seemed to preclude regression, and though it’s true that nothing here grates as efficiently as older cuts like “Night Of Broken Glass” or “Greed, Money, Useless Children” (nor any of his work under the aegis of the Lost Sounds or the Reatards), it’s clear that Reatard has made a conscious decision to resist total pop assimilation. Prior to his signing to Matador Records—itself quite a step up from his previous throne on In The Red—rumors of a potential deal with one of the majors circulated, and when you consider the sort of product Universal or EMI might have produced in such circumstances, it’s clear that Watch Me Fall is not the overproduced opus it could have been....full text |
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