The Jezabels - Prisoner

There are times as a reviewer when you just can’t write exactly what you want to about a piece of music. There are a few possible reasons for this; the publication you’re writing for might have a particular readership, you might have a personal dislike for the artist (I, for one, would never be able to give U2 a positive write up), or you might harbour an unhealthy obsession for the band you’re writing about. For me the problem I have in writing a review of The Jezabel’s debut record is entirely the latter. My objectivity has been completely clouded by my relationship with their first three EPs and my obsession with lead singer Hayley Mary, which quite frankly borders on creepy.

This is why I decided to be completely honest in this review and to give two different ratings for the album; one being as objective as possible and one for Jezabelophiles such as myself (I know they’re out there, I count several recent converts to the church of Jezabel amongst my friends). My personal preferences aside, I actually think that The Jezabels’ music lends itself well to a review of this type, as your enjoyment of their music depends largely on how wiling you are to invest in it’s drama and turmoil. The Jezabel’s do tend to go for the heartstrings, which makes them somewhat of a divisive entity.

Hayley Mary’s voice could be either shrill and melodramatic or intense and emotive depending upon your perspective. The music itself is much the same – the melodies will seem basic to detractors, yet to converts the songs will feel layered and lush, the rumbling verses brimming with tension and the choruses a mile wide. This is mirrored in the one-two punch of the first pair of tracks, with the brooding title track leading into bittersweet lead single “Endless Summer”, which channels thick synthesizers through Buckingham-Nicks era Fleetwood Mac, without sounding like Tango in the Night. In fact, this comparison rings true for much of the whole album; only two or three tracks fall far enough from the (closely adhered to, yet charming) template to escape it.

The smooth production sheen is something that will have not escaped those who have heard either of the band’s first two EPs, but for once an increase in production values has not led to overproduction, and it’s not as if the band have had to bow to any major label pressure to distil their sound, as they are still currently signed to an indie. In this sense, the change could easily compared to the one PJ Harvey undertook when she produced the glossy, lush Stories From The City, Stories From The Sea after years of punky blues highjinks.

In essence, this is the album that many will have expected it to be. It’s obvious that The Jezabels are going for a big audience here – they want to be filling arenas. The admirable thing is that they have retained their charm whilst losing their amateurishness. The band are sure to retain most of their fans, though it remains to be seen whether the record will draw in many who have not already been enticed by the supreme drama of last year’s Dark Storm EP.

Devotees: 4

Detractors: 3