My Morning Jacket didn’t make many friends with their last record, Evil Urges. Fans are easy to offend, but on that LP the band seemed to go out of their way to do so: take ‘Highly Suspicious‘, an angular, chugging Prince-esque number characterised by a keening falsetto and stop-start rhythms. This was not the keening alt.country with which they made their name, and many were nonplussed by the band’s apparent adoption of a broader but shallower palette. Pitchfork’s review from the time of the album’s release is representative: “After listening to Urges, I wonder if My Morning Jacket might just be satisfied following in the footsteps of labelmates Dave Matthews Band: nestling into a comfortable niche and aiming for the Starbucks carousel with rootsy New Age romanticism.” Ouch.
To some extent, though, all this was unfair: My Morning Jacket had been so successful that everyone from Monsters of Folk to Fleet Foxes were stealing their clothes and playing dress-up. If in the past Jim James’s voice and songwriting has been at its best on soaring folk-rock like ‘At Dawn‘, it’s hard to demand he stick to that furrow when it has become so over-crowded. Evil Urges was at least an attempt to become something more than the revered godfathers of the current folk-rock zeitgeist. If it failed also to be a properly good record in its own right, it may in retrospect at least be profitably read as preface to Circuital, the band’s new album and a more successful fusing of what they do best with what they now do differently.
Boldly, Circuital opens with a song entitled ‘Victory Dance’. It grooves along with a sort of exultant menace, which, though dominated by James’s vocals in a way Evil Urges eschewed, still shares that album’s ambivalence for the band’s acoustic inheritance. The segue into the bright, up-beat title track, strummed and melodic, is simultaneously a relief and a surprise, then: the clanging guitars are replaced by telecaster twangs, the droning bass by top-end piano runs; and yet the two songs somehow sit side-by-side in happy co-operation.
There’s still playful genre-bending – on the catchy, slightly silly funk-soul ‘Holding On To Black Metal’, which may or may not entirely alienate post-adolescence fans of Cradle of Filth – but there’s also another kind of bravery, which allows for gentle, heartfelt songs such as ‘Wonderful (The Way I Feel)’, or hooky, soaring singalongs like ‘You Wanna Freak Out’. The cleverness lies in refreshing the Beach Boys pop of ‘Out Of My System’ with the lessons learned on Evil Urges, as can be seen on the souping-up of ‘First Light’. The album ends on ‘Moving Away’, a gorgeously simple piano tune led by James’s renowned vocal. Of that instrument, Amanda Petrusich writes in the far more favourable Pitchfork review of this latest record, “anyone who’s ever heard James wail in concert is likely to be frustrated by the eternal underuse of his voice in the studio.” She concludes, though, that this latest record comes closer to capturing James’s voice than most – no feint praise for a band gifted with one of the finest, sweetest voices in rock music, and especially for one seeking, here largely successfully, to put all their pieces together.