Grant Jesse Prosser – Temporal Autumn

Grant Jesse Prosser – Temporal Autumn – Album Review

As I put on Grant Jesse Prosser’s brand-new solo album Temporal Autumn and “Empty Spaces” began, this dude took me right back to a sound I love that I’ve never forgotten.  With the gentle approach to Pop/Rock you’ll find at the beginning of this record, you might feel like I did, and recognize the sound of similarities between something like this and the mastermind duo in The Fountains Of Wayne from back in the day.  That certainly works for me.  Great energy as this record launches through your speakers all-around really…you can hear the confidence, the melody, the chops…Grant’s on solid ground right from the drop, and heck yeah, my ears appreciate that.  We should probably expect no less from this dude I suppose – we know the quality of Grant’s work in the band Campfire Sigh, which he shares with another Canadian hero of ours, Nate Jacobucci, who is incidentally featured on this album, and on this very song as well.  There are great things brewing in the Manitoba music scene these days – that’s a verifiable fact.  It’s like hearing Golden Smog for the first time all over again…like you’re hearing tunes that are Down By The Old Mainstream, but not superficial enough to quite join in for a swim, you feel me?  This Indie vibe from Grant is more meaty and spirited than anything you’d hear in the Top-40, and we love that here.

Heck yeah!  Dude’s got that bent-ass Indie sound done right if you ask me.  “Kansas Trip” reminds me of all those bands I still love to this day…Grandaddy, Fog, Sparklehorse, Stereolab, the Virgins, the Eels and such…so heck yeah, I can get behind this for sure.  Grant’s got a very natural vibe to what he creates…it’s workin’ out great on this record.  He enlists the charming vocals of Rachael Loughren to add to this tune, and she does an excellent job in that regard.  “Kansas Trip” was already a track that would have ended up in the win column before she appeared, but for sure, she helped in sealing the deal – Rachael has a great voice with a lot of character to it.  Truth be told, a lot of the allure in this track comes through the rhythm and groove of the bass-lines…which are completely rad.  There’s a whole trippers-element to a sound like this…I’d be the first to acknowledge that…but like many of those out there that you know and would describe in a similar way, the talent for music is undeniable.  It might sound zany, it might sound outta this world, it might not even make a whole lot of tangible sense if you were to look at it on paper…but this is what “living in the moment” is all about y’all.  It’s about having the creative courage it takes to go where the music will take ya.  “Kansas Trip” is a lot of fun to listen to on one level, but it’s also got a metric ton of artistic merit & vibrant imagination to it too.  “My every utterance is submerged” – he ain’t wrong about that…whether it’s his pace or where his vocals sit in the mix, it takes some tuning in to really hear his words…if anything, I’d be making sure to put those lyrics online for us to read along as we listen.  From what I’ve been able to capture personally, Grant’s got lots of rad things to say through his music, but I’d be the first to tell ya it’s not always the easiest to really hear what it all is.  That’s no knock against the production…I think he’s got everything where he wants it to sit, and it’s no knock against “Kansas Trip” either, which is one of the easier tracks to absorb…but you’ll notice that the focus and priorities shift & drift a little one way or the other as the set-list of Temporal Autumn continues on.

“No Wings To Leave” is freakin’ SHORT!  As I often remind folks around these pages of ours though, when a critic leads with that as a comment, that’s usually a good sign…it means we would essentially take a whole lot more if we had the option.  In this particular instance, I can speak from experience – I’ve had to listen to this whole lineup of songs several times in order to get my fix!  Oh the burdens of being a music journalist I tell ya.  I like this song.  It’d be hard to object to an inoffensive little tune like this one; there simply ain’t enough space being used to feel too strongly one way or the other I suppose.  It seemss like a good mix of dreamy devastation if you ask me…no notes, no recommendations from me.  Would I have taken another couple minutes of “No Wings To Leave?”  Sure!  Why not?  It’s a good tune.

There’s a whole lot of nature runnin’ through this record, and you’ll hear a lot of that in the imagery of Grant’s lyricism on “Move On.”  He’s got an interesting hook in the chorus of this track…one that I can hear will grow on people more as time goes on, but also one that I’m still not entirely convinced that he squeezed all the juice out of either.  “Move On” was the track inside the first four that I was a little less sure of in comparison to the first three I suppose, but it’s got so many redeeming qualities to it and so much uniqueness in its vocal melodies and instrumentation towards the end too that I’d never be able to advocate for it being cut from the lineup.  It belongs here…it’s still cohesive…it’s just…different.  I’d say that, even though I’m not all that much of a fan of nature or things outside of the one room that I sit in all day long whether it’s people, places, or things…”Move On” features some of the most descriptive and well-crafted lyrics you’ll find from Grant on this album as far as I can tell.  Again, it all takes a bit of work on the listening end to be able to discern everything he’s saying – and I’m not claiming that even I’m getting it ALL…but from what I can glean, I dig the imagery and the creativity you’ll find in his words.

“Childhood Through A Prism” is another one of those tunes that really makes me appreciate not just what’s happening here on this record, but the fact that the Manitoba scene as far as I’ve experienced, seems really into their musicianship and creating music that really stands out for a variety of reasons.  The biggest reason of’em all is certainly the imagination you’ll find in it.  As “Childhood Through A Prism” made its first major transition and the vocals were revealed, I felt like Prosser probably put himself on a bit of shakier ground with this particular track.  “So disappointed in myself and the world” is a line that stood out to me, because it sounds like it on this track!  Don’t get me wrong, if that’s the vibe that he’s going for, then right on, high-five from me, he’s nailed it…but by the same token, we’ve gotta genuinely acknowledge that level of internal misery can be tougher for others to willingly absorb.  With about forty-five seconds left in this tune, “Childhood Through A Prism” finds the gear you’ll wish it spent the majority of its time in, rather than the other way around.  So essentially, the conversation we end up having here, revolves around the role of art within music…the idea that music can be so much more than merely another sing-along song, and that it can really be a much more enlightened and immersive experience.  Don’t get me wrong, I’m all for that – but I do understand there’s almost always a trade-off that occurs when you go that route.  More art = less accessibility…that’s pretty much the equation as far as I can tell when it comes to making music.  So while you’ve got Grant completely nailing the concept of what he was looking to create on “Childhood Through A Prism” and he should be applauded for that, he’s also created a song that’s less listenable for the masses in the pursuit of art.  It’s always going to be up to him as an artist as to which element of his songwriting will be more important or prioritized – all I can tell him is how it’s received on the other side of the speakers as objectively as I can.  I think he’s got a solid idea here, and I think the eventual payoff in the final switch really works wonders too – but my concern would be that he pulls the trigger very late in this song, and it’s a lengthy journey to get there.

You can always hear when Jacobucci shows up to lend a little weirdness with that synth of his, which you’ll find appearing on “Streams.”  Cody Valentonis also stops by to lay down some seriously kickass bass-lines into this tune as well.  Where I pointed out the similarities of Grant’s music to the Fountains Of Wayne earlier on, it should be noted that the roots of their sound actually trace back to the Beach Boys, which is probably a more apt & accurate comparison at the end of the day, especially when you hear the vocals of Prosser at work on a song like this.  In terms of the more Progressive/Pop-Indie design you’ll find in the songwriting…hmm…no real comparisons there – that’s pure Manitoba music-scene as far as I can tell.  It’s odd, it’s beautiful, it’s wacky, it’s wonderful too…I don’t know that I’d necessarily say I’d expect everyone out there to ‘get it,’ but those that do will certainly find a whole trove of music they love which would include what Prosser’s creating along with what you hear on Nate Jacobucci’s records, and further Inception-esque off-shoots like Campfire Sigh and Butterfist Funhouse.  Together, they’re all responsible for creating a real sound and a scene that has identity to it, and that’s got my full respect.  I could care less whether or not the world would totally ‘get it’ or not – the fact that the effort has been put into creating so much music and putting a ton of art out to be enjoyed, that’s what really matters.  “Streams” feels like an audible journey…and also oddly intense in a way that rivals its melody…you get interesting vocal-asides from Grant, and hooks found within the music revealed in a variety of ways.  Wait a second…did he just say that someone is stealing bedsheets and then selling them on the streets?  Alrighty then!  Maybe Manitoba’s got its music all figured out, but it’s clearly got other shit goin’ on too.

Diving even further into that mixture of late 60s-70s type of sound, Grant clearly has no problem tapping into his own level of strangeness and colorful ideas.  I’ve got no real issues with “Dusk” personally, but at the same time, I feel like it’s missing a bit of that spark required to keep us coming back to it specifically.  I don’t think anyone that’s been enjoying this album is gonna skip over it, but it’s harder to argue that a song like “Dusk” is necessarily furthering the record too, know what I mean?  You factor in its massively expanded ending, and yeah…I dunno Grant…I’m a little on the fence about this one.  “A twist of lemon in the lemonade at dusk” is a freakishly wonderful hook – I love it.  I think Prosser’s gotta be a little cautious of his tone at times…he’s walking a very fine line on some of these tunes, with this track being one of’em – but we’ll get to that point and talk about it a bit more later on down the road.  There are a couple cuts like “Dusk” that seem like they might have more of an impact as a standalone single perhaps – I think when songs like this are surrounded by a lot more livelier material, it becomes harder for them to stand out like they potentially should.  So…yeah…don’t get it twisted, don’t get me wrong – “Dusk” is an alright tune and has real strength in the design of the melody & music, but it’s just surrounded by material that is probably more likely to grab the attention of your ears a lot quicker than this will at first.

Ultimately, you get a real sense of what Prosser likes to create.  It’s Indie/Pop/Rock combined each and every time, with a strong influence from the Classics in the mix for ya.  Nothing wrong with the recipe, but I think despite the variation of the music and even in the melodies, you’re gonna find that there’s a lot of Temporal Autumn that also plays like it’s very similar track after track too.  It could be the vocals in a way…and in that respect, creating identity and a recognizable sound has value in it too, don’t get me wrong.  That being said, by the time you reach “Pieces Mend,” there’s a chance you’ll start feeling a bit restless with the record and be looking for a bit more variation to its overall sound.  Good, crisp, and straightforward drums on “Pieces Mend” – and I dig the fact that Rachael shows up again to lend her voice to the backing vocals in the chorus…she’s a reliable talent without a doubt.  I also like the main bounce of the music on “Pieces Mend” too.  Vocally, Prosser’s onto the right idea…and I like that he’s fearlessly gone after this one, even with knowing that it’s making just about the most demands that he can withstand in the high-end of his voice.  It ain’t easy to sing a track like “Pieces Mend,” and while he’s right on the line of what’s gonna work, I think we need to acknowledge that he gets to where he wants to go.  Could he make life a whole lot easier on himself in that regard?  Absolutely, 100%, totally, YES.  He doesn’t need to write things that are just within his reach…he could write to suit the strengths and qualities of his voice in a more tailored type of way…but where’s the fun in that?  Here we get the added excitement & suspense of wondering whether or not he’s really going to reach the notes he’s going for.

“Scarecrow Dance” is the only co-written track on the record, with none other than, you guessed it – Nate Jacobucci.  It’s a good tune.  The guitar in this one probably makes it for me when it comes right down to it, maybe the ambient wind sounds when the chorus of “which way is the wind blowing” comes in…I like that kind of cleverness.  I dig the keyboards too.  I’m a little worried about things being so continually laidback in the whole vibe of Temporal Autumn…whenever that’s the case and you discover something with this level of consistency in the demeanor of the lineup, you end up with an album that’s more mood-dependent…as in, you’ll know when you’re in the right mood to listen to these songs.  That can be a good thing though…when you’re in that mood and you reach for this record, you’ll get what you’re looking for – and that’s a win.  I really dig the music you’ll find in this tune, and I feel like the vocals come out real smooth too.  After many spins through it, I’m much more convinced that it IS the guitar that steals the show for me on “Scarecrow Dance” – but all-in-all, I’ve got nothing to complain about here.  These two work really well together, and it’s tracks like this one that fully prove that’s true.

At the most ambitious length you’ll find on this album, “Temporal Autumn Suite” stretches out to a giant 8:27.  Here’s where you feel that Progressive tendency of Grant twist towards the Psychedelic vibe a little more as well.  Honestly, I give the man a lot of credit for attaining the vocal sound he’s looking for in the sense that the majority of us would probably compare him to something like the Beach Boys as I pointed out earlier…but what I didn’t tell ya about is the fine line he walks between sounding like that, and sounding nearly like Les Claypool or Weird Al on the mic…and if you’re familiar with the sound, you know that you’d definitely want one but not the other, no matter which direction you intended or preferred.  So while I’d charge that he ends up on the more pleasant side of that particular tone…the best advice I’ve got for Prosser is to make sure he continues to focus on really putting the sweetness into his sound, lest he end up in the Alternative section instead.  “Temporal Autumn Suite” is impressive in the sense that, for as many guest stars that appear and how many tracks they’ve been a part of, Grant takes on the most monumental of them all completely on his own.  That’d be one thing for a typical track of three minutes, but when you consider the kind of songwriting and creativity his music contains, and the multiple twists and turns he’ll take on the inside of a song that’s way closer to ten minutes than it would be to three, I think you gotta give credit where credit is due – the uniqueness of a song really shines brightly here.  It’s heckin’ weird of course, but that’s only because that’s obviously who Grant is, and what he enjoys too – if it weren’t for that, I’m sure it’d be normal…whatever normal is.  I dig tracks like this though – it’s wild when it comes right down to it, adventurous, ambitious…it’s all that and more.  And how often do you reach the end of a track that’s over eight minutes long and think to yourself, ‘hey, that ended abruptly?’

I think I actually LOVED “A Message From Tom” though…and while I’ve enjoyed a great many of the tunes from this record, I do feel like this last track exposes something completely different about the man behind the music.  Grant Jesse Prosser has WAY more in the tank than he’s revealed, even with this record being as impressive as it has been.  A track like “A Message From Tom” shows that he’s got all kinds of untapped potential and opportunities that lay ahead in the future of his music career.  Honestly, I hear a track like “A Message From Tom” and I’m genuinely astounded that it’s on the same record as everything else I’ve heard.  That’s no knock against the bulk of the material, which has all been quality stuff more or less – but the fascinating sound he’s threaded into this finale is an indication of a real level of genius that could find itself into abstract & instrumental aspects of music like soundtrack work or scoring films & such.  Kind of like a one-man version of Tomandandy at the end of Temporal Autumn – which is high praise from me y’all…that’s one of my all-time favorite duos from a ton of great stuff you’ve heard in things you probably love to watch, but would never know it was them.  Like Mean Creek, which is still one of the best soundtracks ever.  Anyhow.  You get the idea I’m sure – Grant’s record takes a significant turn here in its last song, and it’s outright amazing really.  It’s the kind of song that makes you want a whole lot more of what you hear…and the kind of cut that makes you think ‘if he’s capable of doing THIS, then when can we get a whole lot more of it?’  I’ll put it to ya another way…whereas a lot of what Prosser has created along the way is somewhat comparable to this or that, there’s very little at all that you’d be able to cite similarities to with “A Message From Tom” at the end of Temporal Autumn.  In terms of uniqueness and the direction for his future to follow…I mean…it’s clear that ten songs done one way and one in the other suggests that the majority rules when it comes to what his own interests would be…but I’d be taking a real close look at the way this album ends to illuminate his path forward.

Listen to Temporal Autumn and more music by Grant Jesse Prosser at Spotify here:  https://open.spotify.com/artist/4ee63QI244uzCsMAjQBvZA

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