Send "The Jezabels " Ringtones to your Cell 
| Sputnikmusic |
 It is often interesting - and telling - to view the manner in which a band will begin their career. Some will jump head-first into their debut LP, while others would much prefer to toil away with demos, EPs and splits to ensure they are confident in their own identity and sound. Considering that The Jezabels released three EPs over the span of twenty months, it would appear that the Australian quartet fall into the latter category. However, the truth is that they were more than ready to advance after their enthralling debut 'The Man Is Dead'. Obviously perfectionists, The Jezabels continued to mature and hone their craft, with the comparitively sparser arrangements of their early indie-pop leaning highlights giving way to a fuller, more atmospheric sound come EP number three 'Dead Storm'. It should therefore come as no surprise that the long-awaited debut LP 'Prisoner' is far from a rehashed, formula-adhering release. While others could not have resisted in re-recording at least one EP standout, The Jezabels have ambitiously and assuredly moved on, resulting in the rarity of a debut LP adding to an already superlative discography."No more will I look around and wonder how it all began" croons lead vocalist Hayley Mary on the stunning 'City Girl', and from the moment the gothic organs kick-start the opening title track, you just know that The Jezabels are going to do anything but play it safe. Confirming that they will use the long-play format to fully explore the boundaries of their sound, an eye-opening crescendo of a throbbing synth pulse then propels the cut to its climax, before memorable lead single 'Endless Summer' proves that the outfit have far from abandoned their catchy melodicism. While it is ultimately inferior to the opening duo, six minute successor 'Long Highway' may in fact be the tune which sets the tone for 'Prisoner', with its sweeping, cinematic feel evident throughout the album. In order to assist this smooth unification of cohesion and progression, The Jezabels have not only retained producer Lachlan Mitchell, but also procured the services of American mixer/producer Peter Katis, whose work with the likes of The National, Interpol, Jonsi & The Swell Season is a perfect fit. Virgin listeners will undoubtedly be drawn to the distinctive voice of Mary, who does not disappoint as she fully explores the breadth of her phenomenal vocal range. Often recalling Kate Bush and Tori Amos, the title track even has her evoking Placebo's Brian Molko, while the seamless transitions of her upper register to a lower tone on 'Horsehead' brings to mind The Cranberries' Dolores O'Riordan. Mary's most remarkable display though, comes on the strings-infused 'City Girls', whose chorus is simply chill-inducing. Over-emphasizing the role of the front-woman, however, would be down-playing the groups remaining three members, all of whom appear to be working double-time to compose near flawless music. Without a bass player, drummer Nik Kaloper continuously lays sturdy foundations, while additionally decorating the band's sound with energetic beats and fills. Keys player Heather Shannon also subtly assists in the rhythm department, while simultaneously laying down a number of beautiful melodies. Finally, the likes of 'Trycolour' and 'Catch Me' sees guitarist Sam Lockwood perform some glorious guitar lines that recall early U2, and are complemented by a fuzzier, distorted sound when required....full text |
| Thevine |
| That may as well be the catch-cry trumpeting from the album art of the Jezabels’ rather excellent debut album. It also happens to be the fourth set of recordings the Sydney-based quartet have released themselves, entirely free of corporate intrusion. Having built a steady following on the back of these releases (and their famed, blistering live shows), the band are quite possibly the most coveted band in the country to release an album while not even in Australia (they're playing in Holland tonight, FYI). Everything The Jezabels do, they do very well; from the arching drama of frontwoman Hayley Mary’s multi-octave wail through to the powerful finesse of Nik Kaloper’s drumming, the band have managed to create an impressive landscape all their own; they just don’t sound like many other rock bands. This much is obvious from the moment opener ‘Long Highway’ struts into the room, all gothic Cyndi Lauper and alt-rock magic. I could gush about Hayley Mary's voice all day. It's a wonderful, full-bodied thing capable of all kinds of spine-tingling feats, particularly in the upper octaves. Swooping between her regular and spacewoman registers is one of Mary's trademarks, something she's been developing with increasing success since the band's inception. Such a feat requires a huge level of fearlessness -- there is nothing Hayley does vocally on this album that could remotely be considered 'safe'. It's a rare thing that can't be boxed in, full of drama and spiked with feeling that evokes Kate Bush and Dolores O'Riordan in equal measure, yet remains gloriously unique. 'Horsehead' is a fantastic example; with the swelling, subdued brood of the verse, the listener has no idea of the fiery escalation coming at chorus time. Such a trick is slightly berserk and completely wonderful. The band shines when they’re not only showing off their formidable lead singer but their own skills as well. The rhythmic tug-of-war of ‘Nobody Nowhere’ and the gloriously rich instrumentation of ‘City Girl’ are just two of an endless set of such highlights that pop up in unexpected places, demonstrating the full breadth of the quartet's ability to mesh as a unit. And it’s not for nothing that Jezabels are spending half their year globetrotting; this is a "world-ready" sound, akin to say, Silverchair’s ‘Emotion Sickness’ spread over an entire record. The Jezabels don’t need speed or gimmicks to impress, but rather a focus on sturdy harmonic material (pianist Heather Shannon’s considerable contribution to their aesthetic should not be ignored) and the ability to infuse it with a power and conviction in the live arena that few bands can match. For an independent band who still refuse to sign with anyone, and micromanage everything from their press to their artwork, Prisoner is a remarkable achievement in every sense....full text |
| Musicfeeds |
| The Man Is Dead, She’s So Hard and Dark Storm; no these aren’t some strange declarations, more like some creative collections from top, Aussie band ‘The Jezabels’ who after a few extended plays are now ready to launch their brand new LP; Prisoner. This band came together during their jam and cram sessions at the University of Sydney and after some serious studying Hayley Mary, Heather Shannon, Nik Kaloper and Samuel Lockwood are ready for their graduation. The Jezabels’ beautiful and deep sound mixed with perfect tinkles on the piano and some in-time rhythm guitar has given them opportunities for airplay, touring and award nominations. Still, now comes the real challenge as their CD gets ready to hit the shelves. Prisoner opens up with the album’s title track, a freeing release that sounds epic enough to score big on movie soundtracks. This emotive track is full of heart and is as beautiful as the band’s frontwoman Hayley Mary. Still if you thought that looked and sounded good, wait until you hear Endless Summer that keeps the feeling of this band’s growing status and this gone season alive. This Australian band sound in concert with other big, epic, feel-good guitar bands Stateside with a sound that’s pitch perfect for an electrifying live show. The atmospheric, awe-inspiring feeling keeps on in Long Highway, a six-minute slow burner that’s effervescent and tailor made for a deep, long drive. As Hayley Mary sings lyrics with hail Mary passion, her Jezabels back like a beautiful choir. Then the band get off the beaten track on the upbeat one with Try Colour, a song that really brings light and shine to this artist’s disc. The canvas continues with a classic look on the beautiful bloom of Rosebud. Mary’s vocals are unmistakeably unique and the bass lines water this track with life. As this band’s sound ascends, the only thing that comes down is the competition and the notion of them being a new band. Sydney’s sublime new stars do it for their hometown as Hayley shows she’s a ‘City Girl’ on another spark of evoking energy. Then these gender benders show they can’t be pigeon-holed on the big and bold Nobody, Nowhere. After the heights of Horsehead, the Australian act push the envelope further on Austerlitz with this deep, devoted love letter to their self-dubbed ‘intensindie’ genre. This cinematic influential, instrumental number is truly inspiring and intelligent. Deep Wide Ocean pours on more vast depths for these Jezabels. This seductive sound is controlled so well by the band’s leading lady. After giving us more Peace Of Mind, a real Reprise is what you’ll be after and in the form of this and the classic Catch Me you’ve got it. Providing you can keep up with all the beauty on this album, you’ll really get to hear how good this band is sounding and looking. This up-and-coming band really show that they are ready for the throne of rock’s elite this fall. Australia are known for their great bands like AC/DC or INXS, but now this band are going to make their mark too. Not just here, but all around the world. Can you hear? The sound of a great band who after almost three years of three EPs now have a full album release that will lift them out of musical purgatory prison and have them walking the stages as free men and women. The key to the sound you’ve been needing lies with this album and the Jezabels. Music just got good again....full text |
The Jezabels lyrics
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