J Holmes – CEDARWINGS
J Holmes – CEDARWINGS – Album Review
I swear, sometimes you look at the lineup of credits on a solo record and it’ll blow your mind how many more people it takes to make the magic happen than just the one person.
Here we are, at long last, the official debut album from J Holmes! Hopefully that’s a name you recognize on these pages of ours by now, given that we’ve reviewed and revered his music in a variety of ways over the years. From his work in the band FVRMN (aka, originally known as Fever Moon), to his more recent shift into the solo realm with his Blood EP back in October of last year, the many times we’ve been spinnin’ his music on the SBS Podcast, and the accolades received in making our top ten list in 2024 – the man’s tunes have been more than just on our radar, they’ve been consistently on our playlists. From what I can see, this new record combines what J put out on the Blood EP with a more recent release of the Vengeance EP, and has an additional four new tracks for those of you that have been following along closely with his music. I’m actually a bit behind, so there are seven new ones for me on CEDARWINGS. You know what I always say…if I haven’t heard something yet, then it’s still new to me.
He’s got this new record somewhat bookended with its new songs; two that are up front and two towards the back. Opening up the album with his title-track, the melody of “Cedarwings” instantly hits ya. J reminds me a ton of one of my favorite bands from here in BC…or favorite couple of bands I suppose…Man Made Lake, or more recently, Sail Cassady…basically the music surrounding the incredible voice, personality and songwriting of Colin Craveiro. I’ve long made a point of how much J’s music connects when he’s at his most melodic, and this is a stellar example as to why I feel that way. Whether it’s been songs like “Parasitic Sympathy,” or “Holiday Hill” that he wrote for FVRMN, the guy is capable of a kind of elusive magic with his music that seems to be capable of stabbing you straight in the heart in all the best of ways. “Cedarwings” seems to possess a similar kind of endearing awesomeness to it, and I’d put it in the vicinity of the cuts I enjoy the most in J’s catalog. Strong opening to say the very least, by going the delicate route to get CEDARWINGS moving, he’s created a compelling start that demands you keep on listening to see what other gold you’ll find. Incidentally…not like I need to or intend to continue to draw comparisons to others…but J will sing about “blood in the sink,” on “Cedarwings,” and you might just find it interesting to know that Man Made Lake also has a song called that very thing in their catalog. Synchronicity exists in this world we share in all kinds of unique and extraordinary ways…just sayin.’ By the end of listening to “Cedarwings” though, I felt like Holmes has ended up with one of those tracks he’ll go on to play live, and stare out into a sea of lighters and iphone lights staring back at him. Love it.
When I heard “Dagger In The Sun,” I couldn’t help but notice the sound in Holmes’ music is starting to find a fluidity and smoothness to it that reveals his evolution as a professional artist. Don’t get me wrong, I’ve always been a fan…so back when he was rocking with a grittier sound, I was still completely into it – but you’re hearing the more accessible & refined version of that guy now. “Dagger In The Sun” is loaded with clarity and beautiful tones, in addition to smart harmonies and background vocals. It’s a really well-written song when it comes right down to it…kind of akin to something you might hear in a band like The National…and of course, I freakin’ love that being a comparable sound. This works though – in fact, I’d go as far as to say that “Dagger In The Sun” will likely be more addictive than you’d probably assume at first, because it’s such an understated kind of energy. The melody and hooks sink deep though, and with each subsequent spin, you’ll find yourself feeling like you need to come back for more, which tells me that “Dagger In The Sun” might actually be a great candidate for a single to put out there as the gateway into CEDARWINGS. Excellent definition in a lot of the bass-lines you’ll hear throughout this song, and equally enticing tones found in the guitar work. All-in-all, “Dagger In The Sun” ended up feeling like one of the most well-balanced tracks to be found in this entire set-list of songs, and more than likely to be one of the cuts that’ll go on to be a favorite for J’s existing fan-base and new fans alike.
As I listened to “Blood, Blood, Blood” again, I realized that I definitely must have made that comparison to Man Made Lake/Sail Cassady before – because how could I not? Very similar (and very welcome!) vibes. It’s funny…I don’t know what it is about the title itself…unpredictability I suppose…I never would have thought I’d latch onto a song called “Blood, Blood, Blood” before, but here we are, and that’s the case. I still love this tune, and it holds up perfectly on this debut solo record. It’s not like it was released all that long ago…it’s not even six months old now, and believe me when I tell ya, there are folks that’ll take a hell of a lot more time to make a record than J does…so this song still sounds plenty cohesive enough to belong to this set. Production-wise, maybe a bit grittier/closer towards what we know from FVRMN in that Indie-Rock type of way, but still a highly welcome callback to his earliest solo tracks. You can read my original thoughts on “Blood, Blood, Blood” from the Blood EP by having a click right here.
Where things really start to get movin’ energy/tempo-wise, is on “Cornered,” which originally came from the Vengeance EP. I didn’t personally review those tunes, so this is the first chance I’ve had to tell ya what I think about those tracks. Again, if you’re listening to the production on “Blood, Blood, Blood” versus what you hear on “Cornered,” it’s like you can hear how quickly things were being upgraded in behind the scenes. “Cornered” is rocking with tremendous clarity, an upbeat energy, and of course, J’s signature vocal drawl. I like the call & answer style of the main hooks in the chorus, but overall, there’s nothing I’d dare complain about in this track overall – “Cornered” is a genuinely well-crafted cut that has a large amount of appeal to it. The real key you’re gonna hear to its success is right there in the music. Don’t get me wrong, I’m always gonna tell you I love what Holmes is able to do as a singer, but to me, I felt like the real difference maker in what draws us into listening to “Cornered” is through the way the melody of the music works. Something about that downward progression you find in the chorus is truly irresistible…it’s clever songwriting, and the allure you’ll find there is only rivaled by the execution itself. Of all the more up-tempo tracks you’ll hear on this record, I’m inclined to believe “Cornered” is the best of the bunch, and a genuine highlight for the hybrid vibe he’s rocking with. Some of the main hooks you’ll discover in this track emanate directly from the music every bit as much as from the microphone – the way those guitar tones ring out right into the thick of this track is absolutely magnificent to listen to.
“F U Pay Me,” which obviously still deserves its own separate award for best song title, is another track that comes from the Blood EP. The release you find in the main hooks of this track is fucking cathartic y’all…whether you’re a fellow musician, or you’re just TIRED OF BEING OPPRESSED BY THE MAN, you’ll find yourself singing “F U Pay Me” at the top of your lungs, because it just FEELS GOOD to do it, you know what I mean? Because let’s be real here – none of the people at the top of society are paid what they should be, and none of us at the bottom are paid what we’re worth for the incredible contributions we make…so “F U Pay Me” is like this glorious rallying cry/anthem for the working class and creative community. It’s like you wanna carry around a boombox with this chorus queued up for those moments where someone tries to stiff ya after all the work you’ve put in. You musicians know what I’m talkin’ about for sure…think about all the times some dive bar has tried to pay you in beer & pizza as opposed to like, ACTUAL MONEY DOLLARS. Now you can take in “F U Pay Me” and blast it until they fork it over. Read more about what I have to say about “F U Pay Me” and the rest of the Blood EP by clicking here.
I like “Tied Up” – believe me when I tell ya, you’re not gonna find me complaining about a whole lot by J Holmes, because I really dig the kind of music this dude makes. I’m as objective as I always am when I’m reviewing music though, largely because it’s not always about ME lol…I’ve kinda gotta give a glimpse into why YOU might like something too. I dig the additional instrumentation you’ll find in “Tied Up,” and I can get behind its frenetic & frantic pace too. Do I think it’s the cut of all cuts for the music of J Holmes? I’m not personally gonna go that far…I look at “Tied Up” as a bit of the polar opposite DNA-wise when it comes to what I like to hear most in the guy’s music. That being said, you can’t always go the melodic & sleepier route…sometimes you need to shake things the fuck up and get the wiggles out – and that’s where you’ll find a track like “Tied Up” is happy to fill the hole. LISTEN to the kickass details he’s threaded into the background of this cut as it starts though eh? I dig this kind of uniqueness and attention to detail…it makes things interesting to listen to. I also think the organ in this song is a real highlight to be found as well…whoever’s playing that is goin’ off and proudly tapping right into the full strength of the madness on “Tied Up.” It’s a wild track without a doubt, and certainly entertaining – I think we can all agree that this might even come out as one of the best tracks to take to the stage live.
I’m absolutely impressed by the sound of the production on “Vengeance” – right off the bat, this cut sounds like it’s got that undeniably robust balance to it between the low-end and the rest, which gives it this really rich & full density to it that’s like a cup of your favorite coffee. I love the instrumentation between the chorus and verses…and I absolutely love the main line in the hook, where J sings “And all I want it vengeance to this day” – that’s a killer line. As a song overall, I’m probably a bit neither here nor there with “Vengeance” – I like it, but it did feel like it was missing a bit of that inspired spark in the performance or within the songwriting itself that would give us a powerful reason to return to it. A good tune without a doubt, but it’s tougher to say if this earns its way into the category of the greatness we know he’s capable of. Think of it this way – if you were to put on a movie that revolved completely around “Vengeance,” you’d likely expect a shit ton of fireworks, gunfire, and explosions or what have you, and Holmes heads in the opposite direction with the energy on this track instead. Obviously there is no right or wrong when it comes to the art of songwriting, but at the same time, you kind of go into listening to “Vengeance” with the expectation that you’re going to hear his trademark live-wire spark flare up, and instead, you kind of end up with one of the most even-keeled performances you’ll find from J in his entire catalog. So…yeah…I mean…it’s one of those bizarre situations where what works for “Vengeance” is almost precisely what works against it as well. It’s professionally polished and totally smooth, but so laidback that it kind of supresses the dynamics it needs to make the impact it should too.
In one of the most interesting twists of the EP, “Esoteric Lover” is actually a cover of the song he put out with his band FVRMN, and puts this track in a completely different light. Back when I reviewed their last album Back To The Whip, I actually made a comment or two about how I felt like “Esoteric Lover” might have been using the wrong kind of energy…that it was too “punked up” for what it was really calling out for. Not to brag or anything, but I feel like this version of “Esoteric Lover” is way, way closer to what I thought this song could have been, or what the words were calling out for all along. I’m certainly not taking credit for being the inspiration as to why it changed or why J went after this track in his solo material, but if I did play any kind of role in that, I’d be honored, of course. I’ve always been about challenging artists to tap into the best of what they do, and hearing the massive amount of changes that Holmes put into the way “Esoteric Lover” moves and how it sounds…I mean…this is the kind of thing I’m always getting at. If you’ve got a great song, sometimes there’s a way you can look at it from a different light, or deep down you know that you could create something equally interesting by doing something totally different. I look at like…examples of something like say, “Pushit” by Tool for example. Good song on their album Aenima, no doubt – but it’s a GREAT song on their live record Salival, and sounds entirely different. The right song can lead multiple lives. I applaud J for seeing what else he could do with this track, and feel like “Esoteric Lover” came out undeniably stronger in this mellower solo version he’s got. Really love the lyrics that J’s penned to this tune, and I think this piano-led version gets the best out of it.
The last brand-new song in the set is “Three Sisters” – and in some ways, it feels like it. I don’t know if I’d quite go so far as to say that J’s rushed himself to get that one extra track for the record, because I do like the songwriting, and I’d also tell you there are significant melodic highlights in the way he sings this song that are extremely endearing to listen to as well. That being said, there are also a few spots here & there where he’ll drift just wide of the melody he’s looking for too, which creates a bit of an imbalance in the listening experience too. Basically, when he’s at his melodic best on “Three Sisters,” he’ll blow your mind with the remarkable sincerity he’s capable of singing with…but when he drifts, even just a bit slightly, it becomes noticeable. Look at it this way though – the reason as to WHY we hear something that might be just a little out of place tonally, is usually because we’re listening as intently as we can be, and that’s solely because we’re completely invested and interested in every single second. I’ll take the odd fluctuation here & there, which is really all we’re talkin’ about here, because the majority of this cut is completely intact and will reveal some of the best vocals you’ll hear in the catalog of J Holmes so far. I also have a ton of love for how the subtle vibes of “Three Sisters” gently fades out for its finale, like it’s heading safely into the cortex of your mind forever as a memory you’re desperately trying to hang onto, or burying itself deep into the fabric of your heart forevermore. It’s a tough one in the sense that it’s so damn close to perfection you wish you could just reach right through your speakers and tweak that final 2% that might be able to come out a tiny bit better, but alas we can’t. Would I trade in the other 98% in because of that? No heckin’ way y’all. What’s good about “Three Sisters” is undeniably great for sure.
Livening things up with “Ashes In The Rain” from the Blood EP to finish things off was a good move. Like I’ve long maintained, those of you that have had your ears to the ground and have been in this music business for years know – EPs are all about finding what works, so that when it’s time to make that full album, you’re ready to roll. “Ashes In The Rain” makes for a great ending, without a doubt. I could have made an argument for “Three Sisters” also being the right conclusion with the way it drifts out so beautifully and finishes off so delicately, but I actually really dig J reviving the energy to create that true finale, almost in the same way you hear in the encore of a live show. So heck yeah, it works for me…you’ll find no complaints from me about “Ashes In The Rain,” I think you’ll find some of J’s most potent & clear lyrical imagery, it’s got an absolute scorching hot highlight for the guitar solo in this cut that is like…sonically addictive controlled chaos…and the final run-throughs of the hooks were perfect to finish everything off. Feel free to check out the rest of what I had to say about “Ashes In The Rain” when I reviewed it back in 2024 by clicking here – and do yourself a favor and click play on CEDARWINGS here in the present as soon as you can. J Holmes is a spectacular talent in this music scene we share, and any time he shows up, he reveals something new that’ll exceed your expectations & get you listening again.
Find more music by J Holmes at Apple Music: https://music.apple.com/ca/artist/j-holmes/1762772481
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