[rating=9.00]
Jonathan Wilson established a heady niche for himself early on. Veering slightly left of center as part of the so-called nu-folk revival, he took his cues from the halcyon Topanga Canyon scene of the late ‘60s and early ‘70s by retracing the same trails originally navigated by Joni, Neil, the Beach Boys, Crosby, McGuinn, and the like, and then recasting those sounds as a sort of Golden Age revival.
It all seems to have worked well. Only two albums in, he’s now regarded as a standard bearer in his own right, having produced Father John Misty’s most recent opus and toured as part of Roger Waters’ sizeable touring ensemble. That, of course, not only adds to his cred, but also furthers his move into more psychedelic realms, one he claims to be opting for over the sound of those Southern California environs. That’s true to a great extent; the most propulsive tracks of his new album Rare Birds — “Over the Midnight” and “There’s a Light” — offer a glimmer of a cosmic haze and in the process, send the proceedings skyward. Yet, there’s still a hint of a Pacific sunset lingering on the horizon, referred to directly in the latter:
“There is a feeling, in the California air,
A reason that we are just who we are.”
So too, Wilson echoes many of the wistful themes those trembling troubadours concerned themselves with early on — mainly love, loss, shattered dreams and the constant quest to fulfill distant desires. So while synths and samples work their way into the mix, Wilson’s personal perspective still grounds the music with its longing and desire. Granted, the dreamy echoes of Pink Floyd are present as well, especially in such songs as “Sunset Blvd,” “Rare Birds,” “Living with Myself” and “Trafalgar Square,” but the flights of fantasy don’t negate the accessibility factor in the process.
If anything, Rare Birds ought to keep Wilson soaring in full flight. It’s a tuneful treat and a decided step into the stratosphere.
