Jana Pochop – Powerlines

Jana Pochop – Powerlines – EP Review

Can you believe it?  It has apparently been nearly three years since the legendary Jana Pochop was last on these pages of ours.  That wasn’t a choice made by our side of the screen & speakers, I can assure ya.

As lyrically impressive as ever, “I Miss Driving” starts up Powerlines with a fairly delicate approach.  It’s pretty fair to say that this first tune is pretty much straight from the how-to-Jana-Pochop handbook, so I don’t know that those out there looking for her to take a major leap in an artistic sense are necessarily getting that here, but sure, solid tune.  No reason to complain about getting more of what the people already like, even if a track like “I Miss Driving” can feel like a bit of a lateral move for her.  There are some significant wins here, no doubt about that…I think the vocal harmonies come out really strong, I really like the guitar solo at the very end of the tune, and I would still tell ya that Pochop has a real gift when it comes to establishing atmosphere in the music she makes.  You can immediately feel the weight of the emotion in the melody of “I Miss Driving,” and while that can often be a style of sound that some folks would tell ya you have to be in somewhat of a certain mood for, I’d take something like this over another tired attempt at a party anthem any day.  As I understand it, BettySoo, Shawnee Kilgore, and Katie Lessley are largely responsible for strengthening the backing vocals and harmonies we hear in this opening track…I salute them all and fully recognize that they’ve made a real difference in this first track.

The quality in the production really comes through, and Jana should be commended for the efforts she’s made there…you can hear that’s been an evolving aspect of her music-making from day one if you’ve really been listening, and what you’ll hear on Powerlines speaks to her skill behind the studio boards becoming stronger as time marches on.  Like, “Pretty Please” is a good example of how effective she is as a producer now…listen to spots like how the bass enters the song…listen to where the drums sit in the mix…she’s making great choices and that leads to a lot of depth in the sound coming through your speakers.  As for the song itself…hmm…I think I’m gonna go against the grain here…it’s not my favorite from the set.  From what I gather online, it’s the lead single…and yeah, I’d question that choice…I’m not quite sure how it got the nomination to be the gateway in if I’m being completely honest with ya.  Does it showcase some serious technical skill and steady musicianship?  Absolutely.   In terms of the actual material we’re listening to…I dunno…I guess the ideas seem a lot thinner that the technical prowess by comparison.  Hard to complain about a quality tune though – it doesn’t really matter what I personally feel about any song by any artist or band when it comes right down to it…all that matters is that you gave your all when it came time to press record, and you can’t take away any points when it comes to Jana’s music in that regard.  I do think that there are some things she’s got happening towards the end of both these first tunes that she might have wanted to include and incorporate earlier into the music, but I also think she’s given herself the opportunity to really expand on these songs when playing them live for the exact same reasons.  They might wrap up quickly here in the recordings, but she could take these outstanding outros and create some seriously memorable highlights by drawing them out live.  Like, c’mon…when we transition around the 2:20 mark, and it’s incredible…yeah, I’ll be the guy to say it – we want more than the mere twenty-five seconds that follows, especially with a sound that engaging.

I am…gonna go ahead and say that “Down Low” is probably the track I’d consider to be the strongest of the first three cuts when it comes to content overall.  I think there’s an argument to be made that “I Miss Driving” might have made for the best choice as a lead single…I think most of us would agree the warmth in the production on “Pretty Please” would be the winner of the opening three…but yeah, from my perspective, I think “Down Low” came out with a stronger balance overall when you consider all the many things that go into making a song.  Jana’s also got the advantage of an award-worthy performance from cellist Diana Burgess on this song that literally could not be any more perfect of a fit than it is here.  I think Pochop’s guitar is great on this track too and really like the recording on her acoustic.  Smart use of programming for the percussion from Alexander Daoust too…the separation in the instrumentation that Jana’s achieved is nothing short of remarkable when it comes right down to it.  The clarity is vivid & vibrant, and it really allows us to hear all the ingredients on an individual level while we’re still listening to the combined results at the very same time.  The hooks are strong, the musicianship is beautiful, and the writing is immersed in a wonderful layer of melancholy fully guaranteed to hit you right in the feels.

Is there a bit of a question surrounding how Powerlines will be received?  We’re a long, long way away from the days of “Money & Heart” at this point…and light years away from what we heard in Jana’s side-project of onetwothreescream as well.  Did I feel a bit restless by the point I’d reach “Chasm” as I spun my way through this album over the week?  Occasionally.  From the melancholic aspect of the material, to the distant mixes in the sound, to the noticeable lack of upbeat moments in this EP’s first half, I think there’s a legitimate question to be asked surrounding whether or not Powerlines is almost too laidback to make the impact and impression on listeners that quality songwriting should yield.  I don’t know the answer to that…none of us do of course, but time will tell the full story when the record gets its official release on March 25^th this year.  Well, shortly after that, but you get the point – I think it’s more than a fair assumption that Pochop diehards will assuredly turn up to listen to anything that she does as one of the most consistent independent artists in this music scene we share, but it’s much tougher to tell if she’s written a record that is going to draw in more newcomers.  Like, I’d sit here and listen to “Chasm” without much protest…it’s another good song to add to Pochop’s catalog, sure – but I think what we’re really asking, is whether or not tracks like “Chasm” have that spark that continually brings you back for another spin – I’m not entirely convinced of that just yet.  Again, it’s hard to complain about what is essentially flawless work in terms of performance and production – “Chasm” sounds great and there are no discernable issues with the way it’s played…but it still feels like it’s an idea that’s in search of a song.  Content-wise, in terms of what she chooses to write about, she’s crushing it like she always does…I like the theme, I like the core concept, and I still think that the emotion comes through spot-on, but I think the masses need a bit more of a pulse on Powerlines to retain their attention.  I’ve felt that way about albums by The Cure too, and they’ve been my favorite band for years.

To be completely fair to Pochop, five of the seven songs on Powerlines were released in advance of the record…I was only picking on “Pretty Please” as the lead single because it’s the cut that’s available with a pre-order of Powerlines, but the truth is that the whole mid-section of this EP with the exception of the two tracks that bookend the set-list, were already out there online for ya.  For what you’d traditionally have regarded as a Folk-Indie artist of sorts, she’s decidedly leaning towards what’s almost more of a shoegaze type of feel with the songs on Powerlines, adopting decently sized instrumental sections of her songs that keep you locked into the spellbinding way she crafts her melodies.  There are some really unique things happening with the instrumentation on “The Architect + The Artist” that are bound to get a few people stoked about the subtle creativity that she’s put into this latest batch of songs.  The shift into the chorus of “The Architect + The Artist” is what really steals the show this time around though.  As impressed as I was with some of the seriously cool stuff she’s got happening in the music of this track, the melody of her vocals as “The Architect + The Artist” moves from verse to chorus was pure magic.  I’d have this cut in the discussion of what the best material you’ll find on Powerlines is without question.  It’s still quite mellow in demeanor, but it’s played with significant purpose and intention that I really dig.

I will always think her lyricism is more than commendable, and true to form, she’s got a lot of thought-provoking material & evocative moments to be found in her words throughout this record.  Like I’ve been sayin’ on these pages from time to time throughout the years, every session kind of ends up with its own focus and set of priorities, whether intentional or not.  In the case of Powerlines, it really feels like Jana went into this recording fully set on making it sound as great as it possibly could, and in many ways, I think she really exceeded the goal in that regard.  When we end up setting our sights on something specific though, we’re bound to let a few other things slip through the cracks by default as a result…and yeah…I dunno…I’m hearing a really consistent record here, but not necessarily an exciting one.  I feel like her artistry has made a noticeable upgrade in some ways, but at the same time, it feels like the material is a bit thinner than I was hoping for, from my perspective.  So…yeah…like I said, you can achieve your goals in something specific, and often take a bit of a step backwards at the same time in other areas if you’re not too careful.  “American Habits” was another example of a well-written and well-played tune, but its lukewarm energy and being the sixth song in a row that is beyond mellow has Jana’s music feeling like it needs to be recharged at the same time.  I’m not saying she’s gotta go out and write a bunch of ridiculously happy tunes for no good reason…do what you do however you wanna do it – I’m just explaining the risks of not really using the dynamics of a set-list in the context of making a record.  When things become too consistent and/or similar in vibe, style, and tone, there’s always a risk in what’s created drifting into the background, or at the very least, not turned up with the enthusiasm you want from your fans, you feel me?  Conversely, I think records like Powerlines that have such a noticeably defined sound, are the kind we know we can reach for when we’re feeling a certain type of way…and I’d never dispute the fact that there’s tremendous value in that as well.  That being said, the highs and lows of energy can be a huge advantage in the appeal on a record – dynamics are important.  The real highlight for me on “American Habits” was listening to Jana play with the synths and keys for sure…like around the 2:30-ish mark for example, I love the spirited freedom that she plays with there & the emotion that comes through it; this particular moment sounds really connected to the atmosphere.

And so…the question is…will the slightest raising of the ol’ BPM at the end of the record be enough for those out there listening, or will it be a situation of too little too late?  Time will eventually tell the whole story on that…right now, it’s hard to say.  The last thing I’m going to do is tell you not to listen to Jana freakin’ Pochop – she’s long proven to be a special and rare gem in this music scene we share.  Do I think this is her strongest material?  I don’t think that’s the case if I’m being honest with ya, but that’s a far cry from saying something is straight-up bad, you know what I mean?  I’ve mentioned the spots where I feel like she’s evolved or tightened up her craft like I would normally tell any of ya…but the true reality is, I’m always happy to listen to Jana’s music no matter which direction she turns next.  I feel like “Feeling Around In The Dark” was a solid compromise…it’d still be very hard to argue this is anything above a mid-tempo tune at a maximum graciousness, but it’s still got enough of a spark to it that it stands out by comparison to the rest of the record as well.  So it fits in cohesively…it manages to give the EP a tiny bit of a lift before the end to create a conclusive finale…and frankly, kind of simultaneously has you wanting a bit more of this energy at some other point along the way too.  I mean…”Feeling Around In The Dark” IS up there with the album’s best, is it not?  I’d put this track in the conversation without hesitation.  Is it also likely to be the strongest candidate as a single & gateway into Powerlines as well?  You betcha it is.  The digital solo around the 1:45 mark is one of my favorite moments in any song on this record hands down…that’s the kind of creativity I absolutely love to experience.  Everything works well here though, in my opinion…I think it’s quite possible that Jana saved the best for last when it comes to her latest EP.

Find out more about Jana Pochop from her official website at:  https://www.janapochop.com

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