Joy Electric

Item: The White Songbook
Author: Treble Bandoppler

The White Songbook

(2001)

Reviewed by Treble Bandoppler

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Label BEC RecordingsHM Magazine #92November/December 2001

art rock electronic indie pop synth pop

Preconceptions have never been more dangerous. The songs on Joy Electric's The White Songbook, Legacy Volume 1 are related to prior Joy Electric songs only by the post punk ethos, self-imposed production constraints, and studied song writing fundamentals that have been the foundation of Joy Electric for going on ten years. It is the new dimension explored within these barriers that sets The White Songbook apart. The abusively heightened work ethic that went into it. The unconscious discovery of timing and indulgence. The less-faux, more organic vocal tracks. The unleashing of hidden inner literature, as witnessed in the first and last groups of songs, and repressed righteous indignation, as witnessed in the snarling "We Are Rock," "The Good Will Not Be Cloned," and "A New Pirate Traditional." Not to mention the "fullness" of the songs, where the trademark 'blips' really mean something inside the newly thick monophonic layers and melodies they reside, where Candyland Atari has become Whitman VR.

It has been some time since a sterilized, synthetic work of catchy pop music has been so affectual, haunting, heavy, and downright moving. Taste has become irrelevant, Ronnie's taste included, and the notions of appreciation and understanding are the only viable options and responsibilities for us, the closed-minded listeners. Which makes for some wicked apropos irony, as the availability of this album has been hindered by a robotic distribution system and a lethargic, laissez-faire, unimaginative market.

"I worked about a year and a half on the record," Martin shared in a recent interview. "I had more problems than I have space to write about. I feel relieved that it's over, but a little empty at the same time. I'm not happy about the whole process at all, and I know I'll never look back at the making of it with fond memories. It's extremely discouraging to work so long on a record knowing that such a limited audience will ever find out about it. I wish things were different. I wish these records took a month to do."

God willing, there will be a run on justice in the near future, but, for now, for the lucky, informed, daring few, there is a collection of songs out there that demonstrates the godly artistic precepts of Madeleine L'Engle (in her plumb line treatise Walking On Water) to the letter. A true slave to the muse, Martin finally let his songs go where THEY demanded, needed to go, and it shows most obviously in songs like "Shepherds of the Northern Pasture," where the hook is perfectly timed and spine-tingling. Also in "The Heritage Bough," a song that betrays its maker by nailing a filthy, brooding hook despite Martin's opinion that he "couldn't quite get it right." Balderdash, Ronnie. Maybe you "couldn't," but the song itself did. Whether you like it or not, fabulous servanthood is shown in that song.

There is much more to be said about the unwavering principles and surprising manifestations of this record, but just as it seems to have written itself, it speaks for itself just fine. The only thing left to say is in affirmation of the closing line of The White Songbook, "Heavy Metal shirts aren't funny. Come here boy I'll show you funny." Amen and goodnight.